The director's recent project may have breathed new life into the idea 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 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, enriching 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 escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and thought-provoking all at once, securing its place in the canon by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling 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 offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. One of Black cinema’s most acclaimed performers, Bassett delivers a commanding acting with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a third act packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, 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 all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but impactful entry defined by its bold style and unforgettable performances.
