The director's latest project may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer 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 a cue from his predecessor, enriching his own character's mythology in Wes Craven'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 demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your scares this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie 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. Among Black cinema’s most acclaimed performers, she gives a powerful acting alongside her co-star, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential film characterized by its bold style and unforgettable performances.
