Ryan Coogler's recent work may have revitalized the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from Marshall, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, securing its place 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 now available on Tubi, making it an essential watch if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official 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, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a movie that expertly mixes horror and humor.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, the director 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 scary conventions for both laughs and real fear). Meanwhile, the star wanted to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, 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. One of Black cinema’s most praised actresses, she gives a powerful acting with her co-star, a well-known actor from the era. Meanwhile, Murphy 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 descend further into his ghoulish role as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation are at stake. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
