Three Decades Back, Wes Craven and Eddie Murphy Collaborated for an Underrated Horror Masterpiece
Ryan Coogler's recent project may have breathed new life into the idea of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that film, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, securing its position in the canon by juggling all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, Craven 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, the star wanted to defy assumptions by diving into a pure scary movie based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett delivers a powerful performance with her co-star, a familiar face from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role 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 the cast).
Gothic Intrigue
When the two leads meet and the stars appear together, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with critics later praising the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The film flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result 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 daring approach and memorable acting.