Ryan Coogler's latest project may have breathed new life into the concept 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 bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: 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 brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film clicks into high gear, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. One of Black cinema’s most praised actresses, she gives a powerful performance with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a third act packed with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with critics later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential film defined by its bold style and unforgettable performances.
