The director's recent project may have revitalized the idea of African American undead, but the roots of this subgenre 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 bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Debuted three decades back 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.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, dart into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a movie that handily balances horror and humor.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, Murphy wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. One of Black cinema’s most acclaimed actresses, Bassett delivers a commanding acting with her co-star, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film 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 Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, drives a wedge in 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 unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful entry characterized by its bold style and memorable acting.
