The director's recent project may have breathed new life into the concept of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the part into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, securing its place in the canon by juggling all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 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.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation 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 mysteriously slaughtered, a homage to Nosferatu. The ship is found 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 witnesses a dark creature leap from the ship, run into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed performers, she delivers a commanding acting with her co-star, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme 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 make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and discoveries of heritage. This leads to a final section packed with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but influential entry defined by its bold style and memorable acting.
