The director's recent work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 humorous, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) 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 morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, the star aimed to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. Among Black cinema’s most praised actresses, Bassett delivers a commanding acting alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo 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 standout moment of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a third act filled with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made 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 the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but influential entry defined by its bold style and unforgettable performances.
