The director's recent project may have breathed new life into the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a film that handily balances horror and humor.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory 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 vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed performers, she gives a powerful performance alongside her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her housemate, creates conflict 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 unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment are at stake. The film ends with a stinger hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but influential film defined by its bold style and memorable acting.
