Ryan Coogler's recent project may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation 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 Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel 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 (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Creative Visions
Fresh off his final entry 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 mined scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a straight horror based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of Black cinema’s most acclaimed actresses, she gives a powerful performance with Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a third act packed with seduction, as mortality and damnation are at stake. The film ends with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but impactful film defined by its bold style and memorable acting.
