Ryan Coogler's latest project may have breathed new life into the concept of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. Among 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 demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the part into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from Marshall, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled 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 humorous, frightening, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds 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. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding acting alongside Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The film shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful film characterized by its daring approach and unforgettable performances.
