Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from his predecessor, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, dart into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a film that handily balances horror and humor.
Creative Visions
Fresh off his final entry in the iconic horror series, Craven was keen to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. One of Black cinema’s most acclaimed actresses, she delivers a powerful acting with Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a third act packed with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance 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 deservedly secured its place in the history of African American scary movies, an overlooked but influential film defined by its daring approach and unforgettable performances.
