Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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 funny, frightening, and intellectually stimulating simultaneously, earning its place in the canon by juggling all three while honoring the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need 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), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region 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 aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a film that expertly mixes horror and humor.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror rooted in vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. One of African American film's most praised actresses, Bassett delivers a powerful performance alongside her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a third act packed with temptation, as mortality and damnation are at stake. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. Over time, it found new life as a cult favorite, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful film defined by its daring approach and unforgettable performances.
