The director's latest work may have revitalized the idea of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was keen to break from his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most praised performers, she gives a powerful acting with Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role 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 the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but impactful film defined by its bold style and memorable acting.
