The director's recent project may have breathed new life into the concept of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped 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 humorous, terrifying, and thought-provoking simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But instead of traveling from Zamunda to Queens, he emerges 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 phantom vessel whose crew 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. The inspector then observes a dark creature jump from the ship, dart into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of African American film's most acclaimed actresses, she gives a commanding performance alongside Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry 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 between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment hang in the balance. The movie concludes with a stinger suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential entry defined by its bold style and memorable acting.
