Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall'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 character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, enriching his own character's mythology in Wes Craven'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 edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, 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. The inspector then observes a dark creature leap from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. Among African American film's most acclaimed performers, Bassett gives a commanding performance with Payne, a familiar face from the time. In the meantime, the lead spends most of his screen time with his comedic partner, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, 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 swoop in. He murders her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential entry characterized by its bold style and unforgettable performances.
