The director's latest work may have revitalized the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films 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 majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, earning its place in the canon by balancing all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a movie that handily balances scares and laughs.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among African American film's most acclaimed performers, she gives a commanding performance with Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a third act packed with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but impactful entry defined by its daring approach and unforgettable performances.
