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The director's recent work may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, the comedic star appeared to draw inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, earning its position in the canon by juggling all three while respecting the subgenre's legacy.

Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this Halloween.

A Tale of Two Cities

Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir of his clan.

Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, 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 film's funniest characters. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a human — reminiscent of 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 handily balances horror and humor.

Artistic Goals

Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.

The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most acclaimed performers, she delivers a powerful acting alongside Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time 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 ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).

Dark Seduction

When Max and Rita’s paths intertwine and the stars 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 take away all Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.

As the story unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a third act filled with temptation, as life and eternal punishment are at stake. The film ends with a stinger suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film flashes 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. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful film defined by its bold style and memorable acting.