Ryan Coogler's latest project may have breathed new life into the concept of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, securing its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was eager to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, the star aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it opens up 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 colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most acclaimed actresses, she gives a powerful acting alongside Payne, a well-known actor from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The movie ends with a teaser suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it gained popularity 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 flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
