Three Decades Back, Wes Craven and the Comedy Legend Joined Forces for an Overlooked Scary Gem
The director's recent project may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking all at once, earning its position in the canon by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most acclaimed actresses, she gives a commanding acting with Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all 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 weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but influential entry defined by its daring approach and unforgettable performances.
