The director's latest project may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the narrative. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful acting with Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but impactful film defined by its bold style and unforgettable performances.
