The director's latest project may have breathed new life into the concept of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 proves that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its place in the hall of fame by juggling all three while respecting the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that expertly mixes horror and humor.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the story. One of African American film's most acclaimed actresses, she gives a commanding acting alongside her co-star, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section filled with seduction, as life and eternal punishment are at stake. The film concludes with a teaser hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential entry defined by its daring approach and unforgettable performances.
