The director's latest work may have revitalized the idea of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, 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 heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and thought-provoking all at once, securing its position in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances horror and humor.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, 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 narrative. Among Black cinema’s most acclaimed performers, Bassett gives a commanding performance alongside Payne, a familiar face from the era. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a third act packed with seduction, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but influential entry characterized by its bold style and unforgettable performances.
