The director's latest work may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears 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, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your scares this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a film that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. Among African American film's most acclaimed performers, she gives a powerful acting alongside her co-star, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his appearance deteriorates 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 Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a third act packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with reviewers later praising Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but influential entry characterized by its daring approach and memorable acting.
