Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from Marshall, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, 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. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the iconic horror series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, the star aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of African American film's most acclaimed actresses, Bassett delivers a powerful performance alongside her co-star, a familiar face from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized 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 sinister attraction becomes the focus. Max’s plan is to remove all 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 clergyman and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a third act packed with seduction, as life and eternal punishment are at stake. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but impactful film defined by its daring approach and memorable acting.
