The director's latest work may have revitalized the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from his predecessor, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, the director was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most praised performers, Bassett gives a commanding acting alongside Payne, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and the stars appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as life and eternal punishment 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 modest box office return and got largely critical reception upon release. Over time, 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 horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result audiences received. 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 bold style and unforgettable performances.
