🔗 Share this article

The director's latest work may have breathed new life into the concept of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.

Years afterward, the comedic star appeared to draw inspiration from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: 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 funny, frightening, and intellectually stimulating simultaneously, securing its position in the canon by juggling all three while respecting the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this Halloween.

A Tale of Two Cities

Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir 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 vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a film that expertly mixes horror and humor.

Creative Visions

Recently after 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 next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful performance with her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time 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 elevates the humor and fear, even when employed by the cast).

Dark Seduction

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.

As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a third act filled with temptation, as mortality and damnation are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The movie shows moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential film defined by its bold style and memorable acting.