The director's recent work may have breathed new life into the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven'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 hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back 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 frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), 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 find and secure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a movie that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, Bassett delivers a powerful acting with Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating 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 appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with critics later applauding Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but impactful film defined by its bold style and memorable acting.
