The director's recent work may have breathed new life into the concept of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten 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 proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant 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 all at once, earning its position 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 want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official 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 jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image 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 subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims explains 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 eclectic cast.
Angela Bassett, 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 procedural element to the narrative. Among African American film's most praised actresses, she delivers a commanding acting alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but impactful entry characterized by its daring approach and memorable acting.
