The director's recent work may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw a cue 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 heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the hall of fame by juggling all three while honoring 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 need a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven 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 mined horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a straight horror based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most praised performers, Bassett gives a powerful performance with her co-star, a familiar face from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the story progresses, it becomes more darkly romantic, including transformations and revelations of origins. This results in a third act filled with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an underappreciated but influential entry defined by its daring approach and unforgettable performances.
