Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, earning its position in the canon by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, Murphy wanted to subvert expectations by venturing into a straight horror based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, 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 narrative. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful performance alongside Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section packed with seduction, as life and eternal punishment hang in the balance. The movie ends with a teaser hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but influential film characterized by its daring approach and memorable acting.
