Ryan Coogler's latest project may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in the director'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 proves that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, securing its place in the canon by balancing all three while honoring the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor'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, aiming to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, dart into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that handily balances scares and laughs.
Artistic Goals
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 hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, Bassett gives a powerful acting alongside Payne, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the fear escalates, 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, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with critics later praising Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but impactful film characterized by its bold style and unforgettable performances.
