The director's latest project may have revitalized the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, 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 story. Among Black cinema’s most praised performers, she delivers a commanding performance with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, creates conflict 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 metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment are at stake. The film concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The film flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
