Three Decades Back, Wes Craven and Eddie Murphy Joined Forces for an Underrated Horror Masterpiece

Ryan Coogler's recent work may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.

Years afterward, the comedic star seemed to take a cue from Marshall, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your scares this Halloween.

A Tale of Two Cities

Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his clan.

The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a movie that expertly mixes scares and laughs.

Artistic Goals

Fresh off his final entry in the iconic horror series, the director was eager to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy wanted to defy assumptions by venturing into a pure scary movie rooted in 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 once the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.

Angela Bassett, 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 praised performers, Bassett gives a powerful performance alongside Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by other actors).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, 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 between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her beliefs.

As the story unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section packed with temptation, as life and eternal punishment hang in the balance. The film concludes with a stinger suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful entry defined by its daring approach and unforgettable performances.