The director's recent project may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking all at once, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 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 frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir 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 discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, run into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a movie that expertly mixes horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was keen to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. 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 film hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most acclaimed actresses, she delivers a commanding performance alongside Payne, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo 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 during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section packed with seduction, as mortality and damnation are at stake. The film concludes with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful film defined by its bold style and memorable acting.
