Ryan Coogler's recent work 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 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, 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 ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
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.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump 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 Blaxploitation-style music starts, establishing the tone for a movie that expertly mixes horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those artistic aims 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 unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. One of Black cinema’s most acclaimed performers, she gives a powerful performance with Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as the actor'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 the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful entry defined by its bold style and memorable acting.
