Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer elevated the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking all at once, earning its place in the canon by juggling all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a film that expertly mixes horror and humor.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a powerful performance alongside her co-star, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the scares intensify, 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 partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a third act packed with temptation, as mortality and damnation hang in the balance. The film ends with a stinger hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it found new life as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential film defined by its bold style and memorable acting.
