The director's latest project may have breathed new life into the concept of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's interpretation 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 proves that tales of African American undead can be humorous, terrifying, and intellectually stimulating all at once, securing its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, the director was keen to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). At the same time, the star aimed to defy assumptions by diving into a pure scary movie based on Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. One of African American film's most praised actresses, Bassett gives a powerful performance alongside her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film 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 audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful film defined by its daring approach and unforgettable performances.
