The director's recent project may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and intellectually stimulating all at once, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, dart into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, the star aimed to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, she gives a powerful acting alongside Payne, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a third act packed with seduction, as life and eternal punishment hang in the balance. The movie ends 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. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
