The director's latest work may have revitalized the concept of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found 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 dark creature leap from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, setting the mood for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was keen to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to subvert expectations by diving into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. One of African American film's most praised performers, she gives a commanding acting alongside her co-star, a well-known actor from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a third act packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful entry defined by its bold style and unforgettable performances.
