Ryan Coogler's recent project may have breathed new life into the concept of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from Marshall, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while respecting the heritage of the category.
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.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses 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. Groovy Blaxploitation-style music kicks in, setting the mood for a film that handily balances horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was keen to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). At the same time, Murphy wanted to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, she delivers a commanding performance with Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious 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 during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a stinger 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 debut. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
