The director's latest work may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from Marshall, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — 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 (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a powerful acting with her co-star, a familiar face from the era. Meanwhile, 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 Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a third act packed with seduction, as life and eternal punishment are at stake. The film ends with a stinger suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful entry defined by its daring approach and unforgettable performances.
