The director's recent work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from Marshall, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
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 little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances horror and humor.
Creative Visions
Fresh off his final entry in the iconic horror series, the director was keen to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, the star wanted to defy assumptions by venturing into a straight horror based on Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. One of Black cinema’s most acclaimed actresses, Bassett delivers a commanding performance alongside her co-star, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper 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 employed by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie reaches its peak — 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 murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section filled with temptation, as mortality and damnation are at stake. The film concludes with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful entry defined by its daring approach and unforgettable performances.
