🔗 Share this article Three Decades Back, Wes Craven and Eddie Murphy Joined Forces for an Forgotten Cinematic Jewel Ryan Coogler's recent work may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince. Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped 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 simultaneously, securing its position 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 Tubi, making it an must-see if you need a little comedy with your scares this spooky season. An Urban Vampire Story Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe. Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector 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 Blaxploitation-style music kicks in, establishing the tone for a film that handily balances horror and humor. Directorial Ambitions Fresh off his last installment in the iconic horror series, Craven was keen 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 horror tropes for both laughs and genuine scares). At the same time, the star wanted to defy assumptions by venturing into a pure scary movie based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie hits its stride, it opens up to its strengths — like its diverse ensemble. The acclaimed actress, 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 narrative. One of African American film's most acclaimed actresses, she gives a commanding performance alongside her co-star, a familiar face from the era. Meanwhile, the lead 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 descend further into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by other actors). Supernatural Romance When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all 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 masquerade as a clergyman and undermine her faith. As the plot unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a third act packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an overlooked but impactful film characterized by its bold style and unforgettable performances.