The director's recent work may have revitalized the concept of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from Marshall, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when 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 dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most acclaimed actresses, she delivers a powerful acting with Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing 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 other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a third act packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful film defined by its bold style and unforgettable performances.
