The director's latest work may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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, frightening, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found 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 — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was eager to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most acclaimed performers, she gives a powerful performance with Payne, a familiar face from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a third act packed with temptation, as life and eternal punishment are at stake. The film concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and unforgettable performances.
