The director's recent work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the role into something regal, giving 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 Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. 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 clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a movie that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once 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 relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among Black cinema’s most praised performers, Bassett gives a commanding acting with her co-star, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film 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 everything Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a final section filled with seduction, as mortality and damnation are at stake. The film ends with a stinger hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential film defined by its daring approach and unforgettable performances.
