The director's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from Marshall, deepening his own protagonist's lore in the director's interpretation 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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its place in the canon by balancing 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 essential watch if you want a little comedy with your scares this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his clan.
Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, the director was keen to break from his scary movie image and create 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 wanted to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. One of Black cinema’s most praised actresses, she delivers a powerful performance with Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section filled with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received 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 the leads, and its clever mix of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential entry characterized by its bold style and unforgettable performances.
