The director's recent project may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: 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, earning its place in the canon by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins 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 police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most praised actresses, she gives a commanding performance with her co-star, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Gothic Intrigue
When the two leads meet and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her beliefs.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with temptation, as mortality and damnation are at stake. The film ends with a stinger hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential film defined by its daring approach and memorable acting.
