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 pioneering films was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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, terrifying, and intellectually stimulating simultaneously, securing its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy'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 mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, run into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, Craven was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie based on Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most praised performers, Bassett delivers a powerful performance with her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, 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 suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a final section packed with temptation, as life and eternal punishment hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but influential film characterized by its daring approach and unforgettable performances.
