The director's latest work may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from Marshall, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled 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 funny, frightening, and intellectually stimulating all at once, earning its position in the canon by balancing all three while respecting the subgenre's legacy.
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 scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), 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 on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a movie that expertly mixes horror and humor.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, the star aimed to subvert expectations by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the story. Among Black cinema’s most praised actresses, she delivers a commanding performance alongside her co-star, a well-known actor from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by other actors).
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 takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment hang in the balance. The film ends with a teaser suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful entry characterized by its bold style and memorable acting.
