The director's latest work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 humorous, frightening, and thought-provoking all at once, earning its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his last installment in the iconic horror series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, Murphy aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the film clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of African American film's most praised actresses, she gives a powerful acting alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars 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 remove everything Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a final section packed with temptation, as life and eternal punishment hang in the balance. The movie ends with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
