Ryan Coogler's latest project may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from Marshall, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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 Black vampire stories can be humorous, frightening, and thought-provoking all at once, securing its place in the hall of fame by balancing all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, 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 the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among African American film's most acclaimed actresses, Bassett delivers a commanding acting alongside her co-star, a familiar face from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment hang in the balance. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an overlooked but influential film defined by its bold style and unforgettable performances.
