The director's latest work may have revitalized the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from Marshall, deepening 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 ancestors fled 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 thought-provoking all at once, earning its position in the canon by juggling all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a film that expertly mixes horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was eager to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most praised actresses, she gives a powerful performance alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He kills her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
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 hang in the balance. The movie ends with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but influential entry defined by its bold style and unforgettable performances.
