Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the origins of this subgenre 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 character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology 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 demonstrates that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while honoring the subgenre's legacy.
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 frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of traveling from Zamunda 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.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that expertly mixes horror and humor.
Directorial Ambitions
Recently after his last installment in the iconic horror series, the director was eager to move beyond his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film clicks into high gear, it opens up 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 procedural element to the narrative. Among Black cinema’s most praised actresses, she gives a commanding acting with Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section packed with seduction, as life and eternal punishment hang in the balance. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but influential film defined by its daring approach and memorable acting.
