Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, earning its place in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted three decades back 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 scares this Halloween.
An Urban Vampire Story
Like 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 arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, Craven was eager to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie hits its stride, 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), adds a procedural element to the narrative. Among African American film's most acclaimed performers, Bassett delivers a powerful acting alongside her co-star, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a third act filled with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but impactful entry defined by its daring approach and memorable acting.
