The director's recent project may have revitalized the concept of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw inspiration from Marshall, enriching his own character's mythology in the director's take 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 brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, earning its place in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of traveling from a fictional kingdom 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 tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a movie that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. Among African American film's most praised actresses, Bassett delivers a powerful acting with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, 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 during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a third act filled with seduction, as mortality and damnation are at stake. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful film defined by its daring approach and memorable acting.
