Three Decades Back, Wes Craven and the Comedy Legend Joined Forces for an Overlooked Scary Gem
The director's latest work may have revitalized the idea of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: 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 brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, earning its position in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But rather than traveling from a fictional kingdom 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 tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, the star wanted to subvert expectations by diving into a straight horror rooted in vampire mythology. 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 hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding acting alongside Payne, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the scares intensify, 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 prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The film flashes moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential entry characterized by its bold style and memorable acting.
