Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking all at once, earning its position in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a movie that handily balances horror and humor.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, the star wanted to subvert expectations by venturing into a straight horror 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 once the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most acclaimed performers, she delivers a commanding acting alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the plot progresses, 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 movie ends with a stinger suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful film defined by its daring approach and unforgettable performances.
