The director's latest project may have revitalized the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take a cue from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors 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 humorous, frightening, and intellectually stimulating all at once, earning its place in the canon by balancing all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your scares this spooky season.
A Tale of Two Cities
Like the royal character 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 mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a film that handily balances horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, the star wanted to subvert expectations by venturing into a pure scary movie based on 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 movie hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most praised performers, she gives a commanding performance alongside her co-star, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
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 sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section packed with temptation, as life and eternal punishment are at stake. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. Over time, it found new life as a cult favorite, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.
