Ryan Coogler's recent project may have revitalized the idea 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 1972 classic Blacula. In that film, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, 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 ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its position in the hall of fame by juggling all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a movie that expertly mixes horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror series, the director was eager to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, Murphy wanted to subvert expectations by venturing into a straight horror rooted in vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among Black cinema’s most praised performers, Bassett gives a commanding performance with Payne, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a final section filled with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but impactful entry characterized by its daring approach and memorable acting.
