Ryan Coogler's latest project may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own protagonist's lore 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 hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while honoring the heritage of the category.
Released 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 dash of humor with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, Craven was keen to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. One of African American film's most praised actresses, she delivers a commanding performance alongside her co-star, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful film defined by its bold style and memorable acting.
