The director's latest work may have revitalized the idea of African American undead, but the origins of this subgenre date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its position in the hall of fame by juggling all three while honoring 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 must-see if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a movie that handily balances horror and humor.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven 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 mined scary conventions for both laughs and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, Bassett delivers a powerful acting alongside her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation are at stake. The movie ends with a teaser hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential entry defined by its bold style and unforgettable performances.
