The director's recent project may have revitalized the idea of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from Marshall, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, earning its place in the canon by juggling all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, 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. Silas then observes a black wolf jump from the ship, run into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, Murphy wanted to defy assumptions by venturing into a straight horror based on Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among African American film's most acclaimed actresses, she delivers a commanding acting with Payne, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act packed with temptation, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a possible follow-up, one that could have happened had the movie 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 reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but impactful entry characterized by its bold style and memorable acting.
