The director's latest work may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its position in the canon by juggling all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, run into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a film that handily balances horror and humor.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven 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 scary conventions for both laughs and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among African American film's most acclaimed performers, Bassett gives a powerful performance with her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but impactful film defined by its bold style and unforgettable performances.
