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. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take a cue from Marshall, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, earning its position in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship 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. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was keen to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. One of African American film's most acclaimed performers, she delivers a powerful acting with her co-star, a familiar face from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the plot progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The movie ends with a teaser suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but influential entry characterized by its bold style and memorable acting.
