The director's latest project may have breathed new life into the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own character's mythology in the director's take 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 edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, earning its position in the hall of fame by juggling 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 essential watch if you need a little comedy 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), the vampire lead is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, the director was keen to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, the star wanted to subvert expectations by diving into a straight horror rooted in Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most acclaimed performers, she gives a powerful acting with Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a third act packed with temptation, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. As years passed, it found new life as a cult favorite, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but influential film defined by its daring approach and memorable acting.
