The director's latest work may have revitalized the concept of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, 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 his predecessor, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled 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 humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was keen to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a straight horror based on Dracula lore. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. One of Black cinema’s most acclaimed performers, she gives a commanding performance alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with seduction, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an underappreciated but influential film defined by its bold style and memorable acting.
