Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw 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 brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the canon by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship 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. Silas then witnesses a dark creature jump from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager 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 laughs and real fear). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most praised actresses, Bassett gives a commanding performance with Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor'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 Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. As years passed, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but influential film characterized by its bold style and memorable acting.
