Ryan Coogler's recent project may have revitalized the concept of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature 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 starts, setting the mood for a movie that handily balances horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. One of Black cinema’s most acclaimed actresses, she gives a powerful acting alongside Payne, a familiar face from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing 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).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film concludes with a stinger suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an overlooked but impactful film characterized by its daring approach and memorable acting.
