Ryan Coogler's recent work may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking all at once, earning its position in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a movie that handily balances horror and humor.
Directorial Ambitions
Recently after his last installment in the iconic horror series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most acclaimed actresses, she delivers a commanding performance with Payne, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her housemate, 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 plot unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a third act packed with seduction, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but influential film defined by its bold style and unforgettable performances.
