Three Decades Back, the Horror Maestro and the Comedy Legend Teamed Up for an Forgotten Cinematic Jewel

Ryan Coogler's latest project may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.

Years afterward, Eddie Murphy seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking all at once, earning its position in the canon by balancing all three while honoring the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.

An Urban Vampire Story

Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his clan.

The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature leap from the ship, run into an alley, and morph 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 horror and humor.

Creative Visions

Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film 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 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 performers, Bassett delivers a commanding acting with her co-star, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper 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 employed by the cast).

Gothic Intrigue

When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.

As the plot unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.