Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped 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, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling 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 must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. 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 heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel 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 observes a black wolf jump from the ship, run into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a film that expertly mixes horror and humor.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. Among Black cinema’s most praised actresses, she delivers a powerful acting with her co-star, a familiar face from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, 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 macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The film ends with a stinger suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that could have been more prominent 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 African American scary movies, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.
