The director's latest project may have revitalized the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, earning its position in the canon by balancing all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges 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 ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his horror reputation 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). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the narrative. One of African American film's most acclaimed actresses, Bassett gives a powerful performance with her co-star, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a final section filled with temptation, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix 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 viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but influential film defined by its daring approach and memorable acting.
