Ryan Coogler's latest work may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw 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. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted 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 spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region 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 aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a film that handily balances horror and humor.
Directorial Ambitions
Recently after 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 mined horror tropes for both laughs and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most praised performers, she delivers a commanding acting with her co-star, a familiar face from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious 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 skin decays throughout the film is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a cult favorite, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
