The director's recent project may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from Marshall, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, securing its place in the hall of fame by juggling 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 essential watch if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director 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 horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a straight horror based on 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 movie 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 (Allen Payne), adds a procedural element to the story. Among African American film's most acclaimed actresses, Bassett delivers a powerful performance with her co-star, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a final section packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend 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 tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but impactful film characterized by its bold style and memorable acting.
