The director's recent work may have revitalized the idea of African American undead, but the origins of this cinematic category date back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something majestic, giving his figure an 18th-century backstory 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 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 edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, earning its position in the canon by balancing all three while honoring the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of African American film's most praised actresses, Bassett gives a commanding acting alongside her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment are at stake. The film ends with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film flashes moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but influential entry characterized by its bold style and unforgettable performances.