Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, earning its place in the canon by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage 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. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was keen to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, the star aimed to subvert expectations by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the narrative. Among African American film's most acclaimed performers, she delivers a commanding performance alongside Payne, a well-known actor 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 Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but influential film characterized by its daring approach and memorable acting.
