The director's recent work may have breathed new life into the idea of African American undead, but the origins 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, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from Marshall, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: 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 edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a film that handily balances scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, Craven was keen to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, the star aimed to subvert expectations by diving into a straight horror 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 once the film hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, she gives a commanding performance with her co-star, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment hang in the balance. The movie ends with a teaser hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
