The director's latest work may have breathed new life into the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, run into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a film that expertly mixes horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most praised performers, she gives a powerful performance alongside her co-star, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the story unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a third act packed with temptation, as mortality and damnation are at stake. The movie ends with a stinger hinting at a possible follow-up, 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 praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but influential film defined by its daring approach and memorable acting.
