Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking all at once, securing its place in the canon by juggling all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on 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 film's funniest characters. The inspector then observes a black wolf jump from the ship, dart 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
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and create a more blended comedy (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 aimed to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But when 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 police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most praised actresses, she gives a commanding performance with Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The film ends with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but impactful film characterized by its daring approach and memorable acting.
