🔗 Share this article

The director's latest project may have revitalized the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.

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 African American horror niche: 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 edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and thought-provoking all at once, earning its place in the canon by balancing all three while honoring the subgenre's legacy.

Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.

An Urban Vampire Story

Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his clan.

The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes scares and laughs.

Directorial Ambitions

Recently after his final entry in the iconic horror series, Craven was eager to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most praised actresses, Bassett gives a powerful performance with Payne, a familiar face from the time. Meanwhile, the lead 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 skin decays during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).

Supernatural Romance

When the two leads meet and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.

As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a final section packed with seduction, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful film defined by its bold style and memorable acting.