Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most memorable pioneering films 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 caricature, the performer transformed the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking all at once, earning its place in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 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 spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature jump 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 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 iconic horror series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, Murphy wanted to subvert expectations by venturing into a straight horror based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most acclaimed performers, Bassett gives a commanding performance with Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
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 fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a third act filled with temptation, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that could have been more prominent had all participants been aligned 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 Black horror, an underappreciated but impactful entry defined by its daring approach and unforgettable performances.
