The director's latest project may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, enriching his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, Craven was keen to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy wanted to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, she gives a commanding acting with Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Dark Seduction
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an underappreciated but influential entry defined by its daring approach and unforgettable performances.
