The director's recent project may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. One of 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 insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, enriching his own protagonist's lore in the director's interpretation 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 persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the heritage of the category.
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 scares this Halloween.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, dart into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, the star aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. One of Black cinema’s most praised performers, she delivers a commanding performance alongside Payne, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Dark Seduction
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The movie flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but influential film characterized by its daring approach and unforgettable performances.
