Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates 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 respecting the heritage of the category.
Released 30 years ago 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.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a film that handily balances scares and laughs.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was eager to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most acclaimed actresses, Bassett gives a commanding performance alongside Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo 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 highlight of how the star's comedic style enhances the humor and fear, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
