The director's latest work may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in the director's interpretation 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 hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, earning its place in the canon by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your frights this Halloween.
An Urban Vampire Story
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 traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), 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 man — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone for a movie that handily balances scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, Craven was keen to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, the star wanted to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, Bassett gives a commanding performance alongside Payne, a familiar face from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction 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 in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but influential film defined by its bold style and unforgettable performances.
