Ryan Coogler's latest project may have revitalized the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, earning its place in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. 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 ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf leap from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, she gives a powerful performance alongside her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when employed by other actors).
Gothic Intrigue
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 takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry defined by its daring approach and memorable acting.
