Ryan Coogler's latest work may have revitalized the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and thought-provoking all at once, earning its place in the canon by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But instead of traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that expertly mixes horror and humor.
Artistic Goals
Fresh off his final entry in the iconic horror series, the director was eager to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among Black cinema’s most praised actresses, she gives a commanding acting with Payne, a familiar face from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching 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 humor and fear, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the film reaches its peak — the suspense builds, 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 intervene. He kills her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser hinting at a potential sequel, 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 beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful entry defined by its bold style and memorable acting.
