The director's latest work may have breathed new life into the concept of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in the director's interpretation 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 persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted three decades back 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 scares this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. 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. Funky 1970s-inspired soundtrack starts, setting the tone for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, the director was eager to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, the star wanted to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most praised performers, Bassett gives a powerful performance alongside Payne, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the plot progresses, it becomes more darkly romantic, including transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The film concludes with a teaser hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential entry defined by its daring approach and unforgettable performances.