Ryan Coogler's latest work may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from his predecessor, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir 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 funny, terrifying, and intellectually stimulating simultaneously, earning its place in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your scares this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector 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 extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, the star aimed to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. 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 film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed performers, she delivers a powerful acting alongside her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful film defined by its bold style and unforgettable performances.
