The director's latest work may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, securing its place in the hall of fame by juggling all three while respecting the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, the director was keen to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror based on Dracula lore. The clash of those creative goals 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 assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among African American film's most acclaimed performers, she delivers a commanding acting alongside Payne, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role 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 film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful entry defined by its bold style and unforgettable performances.
