Ryan Coogler's recent work may have revitalized the concept of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant 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 Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, securing its position in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle 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 ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes horror and humor.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image 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 straight horror rooted in Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most acclaimed performers, Bassett delivers a powerful acting alongside Payne, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious 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 appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a third act filled with seduction, as mortality and damnation are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but influential entry defined by its bold style and memorable acting.
