The director's latest work may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, securing its position in the hall of fame 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 Halloween.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative 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 human — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a movie that handily balances horror and humor.
Directorial Ambitions
Recently after his last installment in the iconic horror series, the director was eager to move beyond 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, the star wanted to defy assumptions by venturing into a pure scary movie based on Dracula lore. The clash of those creative goals 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 opens up to its assets — like its diverse ensemble.
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 crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, she delivers a commanding acting with her co-star, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a final section packed with seduction, as mortality and damnation are at stake. The movie ends with a teaser hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful film defined by its bold style and unforgettable performances.
