The director's latest project may have revitalized the concept of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take 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 persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, earning its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of Black cinema’s most acclaimed performers, she gives a powerful acting with her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, 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, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an overlooked but influential entry defined by its bold style and unforgettable performances.
