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The director's recent project may have revitalized the idea of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, earning its place in the hall of fame by juggling all three while honoring the subgenre's legacy.

Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your scares this Halloween.

From Zamunda to Brooklyn

Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.

The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that expertly mixes horror and humor.

Creative Visions

Fresh off his final entry in the iconic horror series, Craven was eager to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its diverse ensemble.

The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful performance alongside Payne, a familiar face from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by the cast).

Gothic Intrigue

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.

As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a third act packed with seduction, as mortality and damnation are at stake. The film ends with a stinger suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but influential film defined by its bold style and memorable acting.