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The director's recent work may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy seemed to take a cue from Marshall, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, earning its place in the hall of fame by juggling all three while respecting the subgenre's legacy.

Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.

An Urban Vampire Story

Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.

Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a film that handily balances horror and humor.

Creative Visions

Fresh off his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy wanted to subvert expectations by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it opens up to its assets — like its eclectic cast.

The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. Among African American film's most acclaimed performers, Bassett delivers a commanding acting with Payne, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).

Dark Seduction

When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — 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 housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.

As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act filled with temptation, as mortality and damnation hang in the balance. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film flashes glimpses of genius that could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.