The director's recent project may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character 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 proud African prince.
Decades later, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in Wes Craven'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 brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, earning its position in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, 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 actresses, she delivers a powerful performance alongside her co-star, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all 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 make-up effects to disguise himself as a clergyman and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring 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 movie performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. Over time, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential entry defined by its daring approach and unforgettable performances.
