The director's recent work may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, deepening his own character's mythology 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, frightening, and thought-provoking all at once, earning 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 currently streaming on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But rather than 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 offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that handily balances scares and laughs.
Creative Visions
Recently after his final entry 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 next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, the star wanted to defy assumptions by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
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), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a powerful acting alongside Payne, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as life and eternal punishment hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the spark between the leads, 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 tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but influential film characterized by its daring approach and unforgettable performances.
