🔗 Share this article In 1995, Wes Craven and Eddie Murphy Collaborated for an Forgotten Cinematic Jewel The director's recent work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa. Years afterward, 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. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, securing its place in the hall of fame by balancing all three while respecting the heritage of the category. Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your frights this Halloween. A Tale of Two Cities Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his clan. Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his relative 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 human — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances scares and laughs. Artistic Goals Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it opens up to its strengths — like its eclectic cast. 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), brings a procedural element to the narrative. Among Black cinema’s most praised performers, Bassett delivers a commanding performance alongside Payne, a familiar face from the time. Meanwhile, the lead spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as the actor'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 elevates the humor and fear, even when utilized by other actors). Supernatural Romance When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry 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, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith. As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section filled with seduction, as life and eternal punishment are at stake. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, 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 cohesive approach, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but impactful entry defined by its bold style and unforgettable performances.