The director's latest work may have breathed new life into the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, earning its place in the hall of fame by juggling all three while honoring 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 must-see if you need a little comedy with your frights 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 New York City. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his final entry in the iconic horror series, Craven was keen to break from his scary movie image and create 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 wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. One of Black cinema’s most praised actresses, she delivers a powerful performance alongside her co-star, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, 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 kills her housemate, drives a wedge between her and her love interest, 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, including transformations and revelations of origins. This results in a final section packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but influential film characterized by its bold style and memorable acting.
