The director's recent project may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from his predecessor, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled 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 survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that handily balances scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. One of African American film's most acclaimed performers, Bassett delivers a powerful acting alongside her co-star, a well-known actor from the era. In the meantime, Murphy spends most of his screen time 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 Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful film defined by its daring approach and memorable acting.
