Ryan Coogler's latest work may have revitalized the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take a cue from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant 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 place in the hall of fame by juggling 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 scares this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a movie that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a straight horror rooted in Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most acclaimed performers, she gives a powerful performance alongside Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then intervene. He kills her housemate, drives a wedge 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 increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a final section filled with temptation, as life and eternal punishment are at stake. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but impactful film characterized by its daring approach and unforgettable performances.
