The director's recent project may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled 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 thought-provoking all at once, securing its position in the canon by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative 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 man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie based on Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett delivers a powerful acting alongside Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — 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 kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry the leads, 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 mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful film characterized by its bold style and memorable acting.
