The director's recent project may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from his predecessor, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, earning its position in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a dash of humor with your scares this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, dart into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, setting the mood for a film that handily balances scares and laughs.
Creative Visions
Recently after his final entry in the iconic horror series, the director was keen to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its assets — 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), adds a crime-drama edge to the narrative. One of African American film's most acclaimed performers, Bassett gives a commanding performance alongside Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — 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 roommate, creates conflict 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 story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a third act packed with temptation, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film flashes moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
