Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie 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, Marshall transformed the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, enriching 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 ancestors escaped 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 simultaneously, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted three decades back 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 scares this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a film that expertly mixes horror and humor.
Creative Visions
Fresh off his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, Bassett delivers a powerful acting with her co-star, a familiar face from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story progresses, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a final section filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry characterized by its bold style and memorable acting.
