In 1995, Wes Craven and Eddie Murphy Joined Forces for an Overlooked Scary Gem
The director's latest work may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, securing its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation 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 homage to Nosferatu. The ship is found by ship inspector 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, dart into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. 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 movie clicks into high gear, it opens up to its strengths — 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 (the actor), brings a procedural element to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding performance with Payne, a familiar face from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
