The director's recent work may have revitalized the concept of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from Marshall, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped 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, frightening, and thought-provoking all at once, earning its position in the canon by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than journeying 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 offspring of his clan.
Maximillian arrives in New York on a phantom vessel whose crew 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. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, Craven was eager to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, she gives a commanding acting alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by other actors).
Gothic Intrigue
When the two leads meet and the stars appear together, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act packed with temptation, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it found new life as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film flashes moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but impactful film characterized by its bold style and unforgettable performances.
