The director's recent project may have revitalized the idea of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take a cue from his predecessor, deepening his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted 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 place in the canon by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod 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. The inspector then observes a dark creature jump from the ship, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, the star aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, she gives a commanding acting alongside her co-star, a well-known actor from the time. Meanwhile, 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. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a third act packed with seduction, as life and eternal punishment are at stake. The film concludes with a stinger hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
