The director's recent work may have breathed new life into the idea of African American undead, but the origins of this subgenre date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven'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 persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking all at once, securing its position in the canon by juggling all three while respecting the heritage of the category.
Released 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.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most acclaimed actresses, Bassett gives a commanding acting with her co-star, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. 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 preacher and weaken her faith.
As the plot progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The film ends with a stinger suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix 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. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
