The director's latest work may have breathed new life into the idea of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something regal, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, securing its position in the canon by juggling all three while honoring the heritage of the category.
Debuted 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 scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances horror and humor.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its assets — 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 African American film's most praised performers, she gives a powerful performance with her co-star, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as Hardison’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 standout moment of how the star's comedic style elevates the humor and fear, even when utilized 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 sinister attraction takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a stinger hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
