The director's recent project may have breathed new life into the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting 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.
Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking all at once, earning its position in the canon by balancing all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your frights this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival 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 relative Julius Jones (Kadeem Hardison), 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 human — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a movie that handily balances horror and humor.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful performance with her co-star, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film 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 Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the story progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment hang in the balance. The movie ends with a teaser suggesting a possible follow-up, one that could have happened had the movie been more successful. 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 critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film shows glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and unforgettable performances.
