The director's recent project may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that handily balances scares and laughs.
Directorial Ambitions
Recently after his final entry in the iconic horror series, the director was eager to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among African American film's most praised actresses, Bassett delivers a commanding performance alongside her co-star, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a final section packed with seduction, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. Over time, it found new life as a beloved classic, with critics later praising the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
