The director's recent project may have revitalized the idea of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw inspiration from his predecessor, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, securing its position in the canon by balancing 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 want a little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director 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 laughs and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the story. One of African American film's most acclaimed actresses, Bassett delivers a commanding acting alongside her co-star, a familiar face from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, 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 intervene. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section packed with seduction, as mortality and damnation are at stake. The film concludes with a teaser hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but impactful film characterized by its daring approach and unforgettable performances.
