The director's recent project may have breathed new life into the concept of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled 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 humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming 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 Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance 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 relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most acclaimed performers, she delivers a commanding acting with her co-star, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment are at stake. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but impactful entry characterized by its daring approach and unforgettable performances.
