After his success with The People Under the Stairs, it was time for Wes to come home. Time for him to reclaim his greatest creation and put the dream demon back into his proper context. And so, in 1994, Wes Craven went back to Elm Street, and he brought several members of the original cast with him. The end result?
I’ve already written here about Wes Craven’s New Nightmare, so I don’t necessarily want to make a new post for it. However, I will reiterate that it was a brilliant return to Elm Street for Craven and a beautiful denouement to Freddy Krueger. Yes, I know that they brought him back for his battle with Jason, but I feel as though that’s an incidental addition. An appendix, if you will. This film felt like a solid conclusion to Freddy’s journey as well as Craven’s homecoming and reconciliation with Bob Shaye and New Line Cinema.
So what could possibly be next for Craven now that he had come back into his own as a “Master of Horror” and taken back his dream demon?
A comedy, of course.
Well. Kind of. A comedic horror? A horrific comedy?
Truthfully, the only thing horrifying about 1995’s Vampire in Brooklyn is how it both failed at horror and funny. Based on a story idea from Eddie Murphy and producer friend Vernon Lynch, and a script written by Murphy’s brother Charlie (along with the guys who wrote Mulan II), the movie tells the story of Maximillian, the sole-surviving Caribbean vampire, who comes to Brooklyn to find the half-vampire mate who will help him keep his line from ending.
I know what you’re thinking: Don’t vampires just make more vampires by biting someone and turning them into a vampire? That’s kind of what I thought. I also stand by my theory that vampires can’t procreate the way humans can. It’s the whole freaking point (pardon the pun) of why they have to penetrate their victims with their teeth after roofying them with their sexeh stares.
I know what else you’re thinking: Half-vampire? What the hell is that (besides Blade or Vampire Hunter D)? I’ve always questioned the idea of “half-vampire” because I question the procreation efforts of vampires. Also, it’s always sounded a bit silly to me (even though I do enjoy some of the genre stories that use such a creature). Do they only burn really badly in sunlight? Have slightly pointy teeth? Do they have a translucent reflection? Whatever it’s supposed to be, Angela Bassett plays the half-vampire, so I’m okay with letting some of those questions go.
Really, it’s Murphy who is the problem for me with this movie. I’ve never really enjoyed him as an actor. I loved his time on Saturday Night Live and I respect what he did during his stand-up days. However, most of his movie career has left me utterly cold. This movie wasn’t an exception.
Plus there is the fact that you can tell that Murphy is not really all that interested in giving a compelling performance in this role. He later stated that the only reason he agreed to this movie in the first place was because Paramount agreed to release their hold on the rights to The Nutty Professor to Murphy if he finished his contract with them. He also had the audacity to blame the wig he wore in the movie for why people didn’t like it. I totally disagree. That wig worked for Eriq La Salle in Coming to America! You just didn’t try hard enough, Eddie.
Problems compounded with the fact that Craven was excited to finally have a shot at directing a straight comedy only to find out that Murphy wanted him on board because he wanted to do something other than comedy and thought taking a crack at horror would be fun. And when your leading man is also one of the producers on a movie he came up with the story for and his brother wrote the script? There’s not a whole lot you can do besides say, “Good idea, Mr. Murphy.”
They did try to meet in the middle, and there are a lot of comedic moments to the film. We also get Murphy doing his shtick of putting on a lot of make-up and playing other characters. This time, he played a perpetually perspiring preacher and a failed Wise Guy. They were kind of funny, but also kind of stereotypical and cringe-worthy. I’ve always had a problem with a lot of the dress-up roles that Murphy did. If he were punching up with the joke, as he did on SNL, then it might be different. However, most of the time, he was only playing up stereotypes for comedic effect. That’s kind lazy comedy for no real effect other than to make fun of groups of people for assumed shared behavior. But whatever.
It was lovely getting to see Angela Bassett in this film. Craven must have appreciated her participation in his short-lived television series Nightmare Cafe (and by “short-lived,” I mean it lasted six episodes…but they featured actors from Craven’s many films, including Bassett, Brandon Adams, and Robert Englund. Oh, and Trinity, Cigarette Smoking Man, and Ishara Yar show up as well, for you genre fans). Bassett’s career at this point was starting to really pick up, with her Oscar nod securely in place for her turn (heh) as Tina Turner and Strange Days helping to secure her as a player in the genre fiction realm.
[Loba Tangent: Sad trivia, really. Sonja Davis, the stunt woman who doubled Bassett on Strange Days, followed her to this film only to die during a failed stunt that put her in a coma for almost 2 weeks before she passed.]
Her performance as Detective Rita Veder in this film was absolutely one of the standouts. She clearly was willing to embrace the ludicrous lunacy of the story and her role, and she played every moment with a refreshing dedication that I’m sure pleased Craven, particularly on this film. Other than Bassett, I’d have to say that Kadeem Hardison was probably the best part of this movie. Playing Julius Jones, the Maximillian equivalent of Dracula’s Renfield, Hardison brought a zeal to his role that was (sadly) unmatched by his main foil. Also, he did quite well in a role that was both a throwback to and departure from his most iconic role, Dwayne Wayne.
In addition, we see several actors who played parts in previous Craven films, including Wendy Robie, fresh from playing Mommy in The People Under the Stairs; Mitch Pileggi, who was Horace Pinker in Shocker; Zakes Mokae, who played Dr. Zeko in The Serpent and the Rainbow; Nick Corri, Rod from A Nightmare on Elm Street; and, even all the way back to Joanna Cassidy from Invitation to Hell!
Remember, I did say that when an actor impressed Craven, he made sure to be loyal to that actor. Just ask W. Earl Brown, who appeared in this film and may or may not appear later on in this blog series. Isn’t that right, Kenny? Now get off my windshield.
Even though it wasn’t the complete break from horror that Craven had longed for, this still was probably the first of his films to integrate other-than-horror elements into the story blatantly (rather than subtly, as Craven had often tried to do with other films) without getting blow-back from producers or the movie company in charge. Of course, the movie didn’t even make back what it cost to make it, so I’m sure that wasn’t the resounding success that Craven had hoped for with his first non-horror horror movie.
Guess there was really only one way to go at this point. Back to horror…