Ryan Coogler's recent work may have revitalized the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found 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, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, the director was keen to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. Among African American film's most praised actresses, Bassett delivers a commanding acting with her co-star, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a hilarious 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 during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film 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 all Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her love interest, 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, including metamorphoses and revelations of origins. This results in a final section packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. Over time, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The film flashes moments of brilliance that could have been more prominent had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but influential film characterized by its bold style and memorable acting.
