The director's latest project may have breathed new life into the concept of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall 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 Black vampire subgenre: 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 brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his tribe.
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 harbor official Silas Green (John Witherspoon) and his relative 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 morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star wanted to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning 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.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among African American film's most praised performers, she gives a powerful acting alongside her co-star, a familiar face from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as mortality and damnation are at stake. The movie ends with a stinger suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. Over time, it found new life as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful film defined by its daring approach and memorable acting.