The director's latest project may have revitalized the idea of Black vampires, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: 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 tales of African American undead can be humorous, terrifying, and intellectually stimulating all at once, securing its position in the canon by juggling all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 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.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a movie that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, Craven was eager to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But when the film hits its stride, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, she delivers a powerful acting with her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching 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 other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film shows moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential film defined by its bold style and unforgettable performances.
