The director's recent project may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone for a film that expertly mixes horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was eager to break from 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 comedy and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
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 procedural element to the story. Among African American film's most praised performers, Bassett delivers a powerful acting alongside Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.
As the story progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a stinger suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. As years passed, it found new life as a cult favorite, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but influential entry defined by its daring approach and memorable acting.
