Ryan Coogler's recent project may have breathed new life into the concept of African American undead, 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 character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, deepening his own protagonist's lore in Wes Craven'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 hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and intellectually stimulating all at once, earning its position in the canon by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your scares this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival 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 mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature leap 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 Blaxploitation-style music starts, establishing the tone for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, Craven 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 laughs and real fear). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most praised performers, she delivers a commanding performance alongside Payne, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film 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 intervene. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.
As the story unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a third act filled with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but influential entry defined by its daring approach and unforgettable performances.
