The director's recent project may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist 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 proves that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its place in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of traveling from Zamunda 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.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a movie that handily balances horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, the director was keen to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie based on Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of African American film's most praised actresses, Bassett delivers a powerful acting with Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act packed with seduction, as life and eternal punishment hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering 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 entry defined by its daring approach and unforgettable performances.
