Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from Marshall, enriching his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and thought-provoking all at once, securing its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your frights this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a movie that expertly mixes horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was keen to break from 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 real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict 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 hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among African American film's most praised actresses, she delivers a powerful performance with her co-star, a familiar face from the time. Meanwhile, Murphy 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 Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a third act packed with temptation, as life and eternal punishment are at stake. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but influential entry characterized by its bold style and unforgettable performances.
