The director's latest project may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's 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 demonstrates that Black vampire stories can be funny, frightening, and thought-provoking all at once, securing its position in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by venturing into a straight horror rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among Black cinema’s most acclaimed actresses, she gives a commanding acting alongside her co-star, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching 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 elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section filled with seduction, as life and eternal punishment 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 got mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
