The director's recent project may have revitalized the concept of African American undead, but the origins of this subgenre date back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the role into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from Marshall, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, earning its position in the hall of fame by juggling all three while honoring 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 must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, dart 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 tone for a film that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the film clicks into high gear, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most praised actresses, she gives a powerful performance with Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. 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 plot progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a final section packed with seduction, as life and eternal punishment are at stake. The film ends with a teaser suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it gained popularity 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 film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful entry defined by its bold style and memorable acting.
