Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from Marshall, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region 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 inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a film that handily balances horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most acclaimed performers, Bassett delivers a commanding acting alongside Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme 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 prosthetics to masquerade as a clergyman and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section filled with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. As years passed, it found new life as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but influential film characterized by its bold style and memorable acting.
