The director's latest work may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist 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 Black vampire stories can be funny, terrifying, and intellectually stimulating all at once, earning its position in the canon by balancing all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to move beyond 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). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, she delivers a powerful performance alongside Payne, a familiar face from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a stinger hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful film defined by its bold style and unforgettable performances.
