The director's recent work may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled 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 all at once, earning its position in the canon by juggling all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming 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 sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, the star wanted to defy assumptions by diving into a straight horror rooted in Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — 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 procedural element to the narrative. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding acting with her co-star, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He murders her housemate, 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 plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation are at stake. The film ends 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 got mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with critics later applauding Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but influential film defined by its daring approach and unforgettable performances.
