Ryan Coogler's recent project may have revitalized the idea of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf jump from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was keen to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, Murphy aimed to defy assumptions by diving into a straight horror based on Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among African American film's most acclaimed actresses, Bassett gives a commanding acting with Payne, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, 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 murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The movie concludes with a stinger hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an underappreciated but influential film characterized by its bold style and memorable acting.
