Ryan Coogler's recent work may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation 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 edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, frightening, and thought-provoking all at once, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring 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 discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, the star wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. 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 dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most acclaimed performers, Bassett gives a commanding performance with Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a uproarious 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 appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Dark Seduction
When the two leads meet and the stars appear together, the film reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove all 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 prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. Over time, 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 moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but influential entry defined by its daring approach and memorable acting.
