The director's latest work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors 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, frightening, and intellectually stimulating simultaneously, earning its place in the canon by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a movie that handily balances scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. Among Black cinema’s most acclaimed performers, Bassett gives a powerful acting with her co-star, a familiar face from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but influential entry defined by its bold style and unforgettable performances.
