The director's recent work may have revitalized the concept of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: 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 brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating all at once, earning its position in the canon by balancing all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a phantom vessel 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. The inspector then witnesses a black wolf jump from the ship, run into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a film that handily balances horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was eager to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, Murphy wanted to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, 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 partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most praised actresses, Bassett gives a powerful performance alongside her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act packed with seduction, as mortality and damnation are at stake. The film concludes with a teaser hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film shows moments of brilliance that could have been more prominent had all participants 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 history of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.
