Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its place in the canon by juggling all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a film that handily balances horror and humor.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The conflict 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 hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most acclaimed performers, Bassett delivers a commanding acting with Payne, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.
As the story progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The film ends with a stinger hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but influential film characterized by its daring approach and memorable acting.
