The director's recent project may have breathed new life into 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 film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from Marshall, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a little comedy with your scares this Halloween.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, she delivers a commanding performance with Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a final section packed with temptation, as life and eternal punishment are at stake. The movie concludes with a stinger suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but impactful entry characterized by its bold style and unforgettable performances.
