Ryan Coogler's recent project may have breathed new life into the concept of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking simultaneously, securing its position in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a little comedy with your frights this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official 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 jump from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and create 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 diving into a pure scary movie based on Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most acclaimed performers, Bassett gives a commanding performance alongside Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her roommate, creates conflict 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, featuring transformations and revelations of origins. This results in a final section packed with seduction, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful entry defined by its daring approach and memorable acting.
