The director's recent work may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the part into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir 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 humorous, frightening, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead 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 continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a movie that expertly mixes horror and humor.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy aimed to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most acclaimed actresses, she delivers a powerful acting alongside her co-star, a familiar face from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, 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 roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a stinger hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received 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 spark between the leads, and its sharp blend of frights and fun. The movie flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful film defined by its bold style and unforgettable performances.
