The director's recent project may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that film, the actor's character is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, 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 forebears 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 funny, frightening, and intellectually stimulating all at once, securing its position in the canon by juggling all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your frights this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew 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 Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a movie that handily balances horror and humor.
Creative Visions
Fresh off his final entry in the iconic horror series, the director was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, the star wanted to subvert expectations by diving into a straight horror rooted in Dracula lore. The conflict 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.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, she delivers a powerful acting alongside her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett 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 remove all Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as mortality and damnation hang in the balance. The film ends with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but impactful film defined by its daring approach and memorable acting.
