Ryan Coogler's recent work may have revitalized the concept of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir 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 thought-provoking simultaneously, earning its position in the canon by balancing all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 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.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a dark creature jump from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, Bassett delivers a commanding performance alongside her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating 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 skin decays throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, 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 murders her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section filled with temptation, as life and eternal punishment hang in the balance. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential film defined by its daring approach and unforgettable performances.
