The director's recent work may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: 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 Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than journeying from Zamunda 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 tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, dart into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, she delivers a commanding acting alongside her co-star, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating 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 ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story progresses, 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 movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
