The director's latest project may have breathed new life into the concept of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than 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 offspring of his tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective 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 actresses, she gives a commanding acting with her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo 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 highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film shows moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an overlooked but influential entry defined by its daring approach and unforgettable performances.
