Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten 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 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own character's mythology in the director's take 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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, securing its place in the canon by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor 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 rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that handily balances horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, Craven was keen to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, Murphy wanted to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. Among African American film's most acclaimed actresses, Bassett gives a commanding acting with Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He murders her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
