Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating 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 a popular platform, making it an must-see if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like the royal character 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 emerges from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes scares and laughs.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star aimed to defy assumptions by diving into a straight horror rooted in Dracula lore. The conflict of those artistic aims explains 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 unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. Among African American film's most praised actresses, she delivers a commanding acting alongside her co-star, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating 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 Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a final section filled with seduction, as mortality and damnation are at stake. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful entry defined by its daring approach and unforgettable performances.
