The director's recent work may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist 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 Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing 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 a popular platform, making it an essential watch if you want a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than traveling 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 crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), 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 man — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the iconic horror series, Craven was keen to break from his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, the star wanted to defy assumptions by diving into a straight horror based on vampire mythology. 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 unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most praised performers, Bassett gives a commanding acting with Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, 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 housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the story progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a final section packed with temptation, as mortality and damnation hang in the balance. The film ends with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but influential film characterized by its bold style and unforgettable performances.
