Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the African American horror niche: 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 tales of African American undead can be funny, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead 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 undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that expertly mixes horror and humor.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a straight horror based on vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of African American film's most acclaimed performers, Bassett gives a powerful performance alongside Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with his comedic partner, creating 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 standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section filled with seduction, as life and eternal punishment are at stake. The film concludes with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
