The director's recent work may have breathed new life into the concept of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories 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 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your frights this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a film that expertly mixes horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship 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 actresses, she gives a powerful acting with Payne, a familiar face from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act packed with temptation, as mortality and damnation are at stake. The film ends with a stinger hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, 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 memorable acting.
