The director's recent project may have breathed new life into the concept of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, earning its place in the canon by juggling all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most acclaimed performers, she gives a powerful performance alongside Payne, a familiar face from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper 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 humor and fear, even when employed by the cast).
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. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her roommate, creates conflict 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 story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation are at stake. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers 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 could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential film characterized by its bold style and unforgettable performances.
