The director's latest work may have revitalized the concept of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from his predecessor, enriching his own character's mythology 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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your scares this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a film that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was keen to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most acclaimed performers, Bassett delivers a commanding acting with her co-star, a familiar face from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful film defined by its bold style and memorable acting.
