Ryan Coogler's recent project may have breathed new life into the idea of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something regal, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own character's mythology in the director's take 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 Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a movie that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, the star aimed to subvert expectations by venturing into a pure scary movie based on Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — 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 (Allen Payne), adds a crime-drama edge to the narrative. One of African American film's most acclaimed performers, Bassett delivers a commanding performance alongside Payne, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, forming 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 enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation are at stake. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful entry characterized by its daring approach and unforgettable performances.
