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The director's latest project may have revitalized the idea of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir 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 intellectually stimulating all at once, securing its place in the canon by balancing all three while honoring 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 frights this spooky season.

A Tale of Two Cities

Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his clan.

Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a film that handily balances scares and laughs.

Creative Visions

Recently after his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among African American film's most acclaimed performers, Bassett delivers a powerful performance with Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing 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 enhances the humor and fear, even when employed by the cast).

Gothic Intrigue

When the two leads meet and Murphy and Bassett 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 swoop in. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.

As the plot unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as mortality and damnation are at stake. The film concludes with a stinger suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but impactful film defined by its daring approach and memorable acting.