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The director's latest work may have revitalized the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the part into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled 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 heritage of the category.

Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a dash of humor with your frights this Halloween.

From Zamunda to Brooklyn

Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his clan.

The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — 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 expertly mixes horror and humor.

Creative Visions

Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it opens up to its assets — like its eclectic cast.

The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. Among African American film's most acclaimed performers, she gives a commanding acting with Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.

As the story progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The film ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but influential film defined by its daring approach and unforgettable performances.