The director's recent project may have breathed new life into the concept of African American undead, but the origins of this subgenre trace 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 turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the part into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and thought-provoking all at once, earning its position in the canon by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a dark creature jump from the ship, run into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and create 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, the star wanted to subvert expectations by venturing into a pure scary movie based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. One of African American film's most praised performers, she delivers a commanding acting with Payne, a familiar face from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including transformations and discoveries of heritage. This leads to a final section packed with seduction, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. Over time, it found new life as a cult favorite, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but impactful film defined by its daring approach and memorable acting.
