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The director's recent project may have breathed new life into the idea of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the part into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star appeared to draw inspiration from his predecessor, enriching his own character's mythology in the director'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 persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the subgenre's legacy.

Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your frights this Halloween.

An Urban Vampire Story

Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives 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 on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a film that expertly mixes scares and laughs.

Creative Visions

Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, the star wanted to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most praised actresses, Bassett gives a commanding performance alongside Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (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).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher 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 filled with seduction, as mortality and damnation hang in the balance. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry the leads, 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 unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential film defined by its daring approach and memorable acting.