Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, setting the tone for a film that expertly mixes 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 scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. One of African American film's most acclaimed performers, Bassett delivers a powerful performance with Payne, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, 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 murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The movie ends with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but influential entry characterized by its daring approach and memorable acting.
