Ryan Coogler's recent project may have revitalized the idea of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, earning its place in the canon by juggling all three while honoring the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian 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 locate and ensure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative 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 — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a movie that expertly mixes horror and humor.
Creative Visions
Fresh off his last installment in the iconic horror series, Craven was keen to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, the star wanted to defy assumptions by diving into a pure scary movie based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of Black cinema’s most praised performers, she gives a powerful performance alongside her co-star, a familiar face from the era. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. As years passed, it found new life as a beloved classic, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
