The director's latest project may have revitalized the idea of African American undead, but the origins of this subgenre date back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from his predecessor, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, earning its position in the canon by juggling all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your frights this Halloween.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector 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 human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a film that handily balances scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, the star aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. One of Black cinema’s most acclaimed actresses, Bassett delivers a commanding performance with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section packed with temptation, as mortality and damnation are at stake. The film concludes with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The film flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.
