Ryan Coogler's latest project may have revitalized the concept of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, securing its position in the canon by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a pure scary movie based on Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — 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 (the actor), adds a procedural element to the narrative. One of African American film's most acclaimed actresses, Bassett gives a commanding performance with her co-star, a familiar face from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section packed with seduction, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The film flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but influential film characterized by its bold style and memorable acting.
