Ryan Coogler's latest work may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving 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 character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, earning its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature leap from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a film that expertly mixes horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was eager to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror rooted in vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film 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 partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among Black cinema’s most praised actresses, she gives a powerful performance alongside Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper 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 the cast).
Dark Seduction
When the two leads meet and the stars appear together, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
