The director's latest project may have breathed new life into the idea of African American undead, but the roots of this subgenre date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, 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 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 demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.
Released 30 years ago 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 frights this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, run into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a film that handily balances scares and laughs.
Directorial Ambitions
Recently after his final entry in the iconic horror series, Craven was keen to break from 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 real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. Among Black cinema’s most praised performers, she gives a powerful performance with her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars 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 everything Rita has in her life and then intervene. He kills her roommate, drives a wedge in 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 progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This leads to a final section filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but influential film defined by its bold style and unforgettable performances.
