The director's latest work may have breathed new life into the idea of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the canon by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the iconic horror series, the director was eager to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, the star wanted to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film hits its stride, it unfolds to its assets — like its diverse ensemble.
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), brings a crime-drama edge to the story. Among African American film's most acclaimed performers, she delivers a powerful acting alongside Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a teaser 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 release. Over time, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but influential film characterized by its bold style and unforgettable performances.
