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The director's recent project may have revitalized the concept of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, the comedic star appeared to draw inspiration from his predecessor, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist 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 proves that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, earning its position in the canon by juggling all three while honoring the subgenre's legacy.

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 want a little comedy with your scares this spooky season.

From Zamunda to Brooklyn

Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an heir of his clan.

Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a film that expertly mixes horror and humor.

Artistic Goals

Recently after his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie based on Dracula lore. 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 opens up to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed performers, she delivers a powerful performance alongside her co-star, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as the actor'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 comedy and horror, even when utilized by the cast).

Dark Seduction

When the two leads meet and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.

As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section filled with temptation, as life and eternal punishment hang in the balance. The film concludes with a teaser 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 beloved classic, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.