The director's latest work may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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 tales of African American undead can be humorous, terrifying, and intellectually stimulating all at once, earning its place in the canon by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, the director was keen to move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, Murphy wanted to subvert expectations by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its strengths — 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 (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, Bassett gives a commanding performance with her co-star, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section packed with temptation, as life and eternal punishment hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and memorable acting.
