The director's latest work may have breathed new life into the idea of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking all at once, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, dart into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a movie that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, the director was eager 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 real fear). At the same time, the star wanted to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. Among Black cinema’s most praised performers, she gives a commanding acting alongside her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the film been more successful. 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 frights and fun. The film shows glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
