The director's latest work may have revitalized the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
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 need a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, 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 film's funniest characters. Silas then observes a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, the director was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, the star aimed to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, she delivers a commanding performance alongside Payne, a familiar face from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, creating 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 throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her housemate, drives a wedge 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 plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but impactful entry characterized by its daring approach and unforgettable performances.
