Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from his predecessor, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a little comedy with your frights this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among African American film's most acclaimed actresses, she delivers a powerful acting alongside Payne, a familiar face from the time. In the meantime, the lead spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film ends with a teaser suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
