The director's recent work may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in the director's interpretation 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 Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses 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 longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the iconic horror series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, the star aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, 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 praised actresses, she delivers a commanding performance alongside Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role 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 employed by the cast).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away everything 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 disguise himself as a clergyman and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation are at stake. The film ends with a stinger hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but impactful film characterized by its daring approach and unforgettable performances.
