The director's recent project may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating all at once, earning its position in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes horror and humor.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a straight horror based on Dracula lore. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its assets — 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 narrative. Among African American film's most acclaimed actresses, she gives a commanding performance alongside Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a third act filled with temptation, as mortality and damnation are at stake. The film concludes with a teaser hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. Over time, it found new life as a cult favorite, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but impactful film defined by its daring approach and memorable acting.
