Ryan Coogler's recent project may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the role into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled 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, terrifying, and thought-provoking all at once, securing its place in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your frights this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes scares and laughs.
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 create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, the star wanted to subvert expectations by diving into a pure scary movie rooted in Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a commanding performance alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a potential sequel, one that could have happened had the film 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 electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
