The director's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir 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 tales of African American undead can be funny, frightening, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector 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, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a film that handily balances scares and laughs.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). At the same time, Murphy wanted to subvert expectations by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most praised performers, she delivers a commanding acting alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances 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 hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful film defined by its daring approach and unforgettable performances.
