The director's recent project may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw a cue from Marshall, 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 ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy wanted to subvert expectations by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among African American film's most acclaimed actresses, Bassett delivers a powerful performance alongside Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo 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 standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a teaser suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.
