Ryan Coogler's latest project may have revitalized the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, securing its position in the canon by balancing all three while respecting 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 want a little comedy with your scares this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that handily balances scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, Bassett gives a powerful acting alongside her co-star, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a final section packed with seduction, as mortality and damnation are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. Over time, it found new life as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but impactful entry defined by its bold style and memorable acting.
