The director's latest work may have revitalized the concept of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, earning its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 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
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking 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 ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered 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 witnesses a dark creature leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that handily balances scares and laughs.
Directorial Ambitions
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 subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, she gives a commanding acting alongside her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — 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 swoop in. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. As years passed, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful entry characterized by its bold style and memorable acting.
