The director's latest work may have revitalized the concept of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, 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 ancestors fled 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, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes horror and humor.
Creative Visions
Fresh off 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 next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, 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), adds a crime-drama edge to the story. Among Black cinema’s most praised actresses, she gives a commanding performance 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 Hardison’s Julius Jones becomes Max’s undead lackey. (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 enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. 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 prosthetics to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film ends with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with reviewers later applauding 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 all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
