Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's take 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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking simultaneously, securing its position in the hall of fame by juggling all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your frights this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from Zamunda 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.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, Craven was eager to break from his horror reputation 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 diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of African American film's most acclaimed actresses, she gives a commanding performance alongside her co-star, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return 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 spark between the leads, and its sharp blend of frights and fun. The movie flashes glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but influential film defined by its daring approach and memorable acting.
