Ryan Coogler's recent project may have revitalized the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors 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 funny, terrifying, and thought-provoking all at once, securing its position in the canon by balancing all three while respecting the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by harbor official 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 man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most acclaimed performers, she delivers a commanding performance with Payne, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything 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 masquerade as a clergyman and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential film defined by its bold style and unforgettable performances.
