Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, securing its position in the canon by balancing all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your scares this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature leap from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among African American film's most acclaimed actresses, Bassett delivers a powerful performance alongside Payne, a familiar face from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.
