The director's latest work may have revitalized the concept of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's 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 proves that tales of African American undead can be funny, terrifying, and thought-provoking all at once, earning its place in the canon by balancing all three while honoring the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most praised performers, Bassett delivers a powerful acting with Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He murders her housemate, creates conflict in 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 unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The film ends with a stinger hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but influential film defined by its bold style and memorable acting.