Ryan Coogler's latest 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. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take a cue from Marshall, deepening 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 ancestors escaped 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 all at once, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature jump 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. Funky 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the iconic horror series, the director was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, the star aimed to defy assumptions by diving into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most praised performers, Bassett gives a powerful performance alongside her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation are at stake. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The film flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but influential film characterized by its bold style and unforgettable performances.
