The director's recent project may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from Marshall, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror based on vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the movie hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. One of Black cinema’s most praised performers, Bassett delivers a commanding acting alongside Payne, a familiar face from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including transformations and discoveries of heritage. This leads to a third act filled with temptation, as mortality and damnation are at stake. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with critics later praising Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
