The director's latest work may have revitalized the concept of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, securing its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a movie that expertly mixes horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. Among African American film's most acclaimed performers, Bassett gives a commanding performance alongside her co-star, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation are at stake. The film concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but influential film characterized by its bold style and memorable acting.
