The director's recent 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. One of the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from Marshall, deepening his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, earning its position in the canon by juggling all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see 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 pulled to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel 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 black wolf jump from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that handily balances horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, the star aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the story. Among Black cinema’s most praised performers, she delivers a commanding acting alongside her co-star, a familiar face from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a third act filled with temptation, as mortality and damnation hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film shows glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential film characterized by its bold style and unforgettable performances.
