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The director's recent project may have revitalized the idea of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. One of the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.

Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening 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 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, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by juggling all three while honoring the subgenre's legacy.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.

An Urban Vampire Story

Similar to the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. 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 undead bloodline with an offspring of his tribe.

The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, run 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 kicks in, setting the tone for a film that handily balances horror and humor.

Directorial Ambitions

Recently after his final entry in the iconic horror series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, the star wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. One of African American film's most acclaimed actresses, Bassett delivers a commanding acting alongside her co-star, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).

Supernatural Romance

When the two leads meet 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 remove all Rita has in her life and then swoop in. He murders her housemate, 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 story unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it found new life as a cult favorite, with critics later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but influential film defined by its daring approach and memorable acting.