The director's recent project may have revitalized the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration 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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the heritage of the category.
Debuted 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.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, 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 acclaimed performers, Bassett gives a powerful acting with Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
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 becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
