The director's recent work may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. One of 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 caricature, Marshall transformed the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was eager to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the story. One of African American film's most acclaimed performers, Bassett delivers a commanding acting with Payne, a familiar face from the time. In the meantime, the lead spends most of his screen time with his comedic partner, 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 appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a third act filled with temptation, as life and eternal punishment are at stake. The movie ends with a stinger hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful film characterized by its daring approach and memorable acting.
