Ryan Coogler's latest project may have revitalized the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from Marshall, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, securing its place in the canon by balancing all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that handily balances 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 create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by diving into a straight horror based on vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the movie hits its stride, it opens up to its strengths — like its eclectic cast.
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 African American film's most acclaimed actresses, she delivers a powerful performance alongside Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo 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 highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything 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 masquerade as a clergyman and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with temptation, as life and eternal punishment are at stake. The film ends with a teaser suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential film characterized by its bold style and unforgettable performances.
