The director's latest project may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer transformed the part into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: 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 brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking all at once, securing its position in the canon by balancing all three while honoring the heritage of the category.
Debuted 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.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a movie that handily balances horror and humor.
Artistic Goals
Fresh off his final entry in the iconic horror series, Craven was keen to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, the star aimed to subvert expectations by diving into a straight horror based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed performers, Bassett gives a powerful acting alongside her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a third act packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but influential film characterized by its bold style and memorable acting.
