Ryan Coogler's latest project may have revitalized the concept of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist 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 demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking all at once, earning its position in the canon by balancing all three while honoring the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure 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 ship is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a movie that expertly mixes horror and humor.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror based on Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, Bassett gives a powerful acting with Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a third act filled with seduction, as life and eternal punishment are at stake. The film ends with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
