The director's recent project may have revitalized the idea of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own character's mythology in the director's take on the Black vampire subgenre: 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 demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking all at once, securing its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your frights this Halloween.
A Tale of Two Cities
Similar to Prince Akeem 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 mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel 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 observes a black wolf leap from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was keen to break from his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most praised actresses, she gives a powerful performance with Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing 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 enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a third act 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 could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but impactful film defined by its bold style and unforgettable performances.
