The director's recent work may have revitalized the idea of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want 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 classic from 1988), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges 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 inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a straight horror rooted in vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — 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 (the actor), brings a crime-drama edge to the narrative. Among African American film's most praised performers, she gives a powerful acting alongside Payne, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge 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 bold style and unforgettable performances.
