Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors 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, terrifying, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, run into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds 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 partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of African American film's most praised performers, she delivers a commanding performance 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 uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that might have materialized had the movie 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 applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but impactful entry characterized by its daring approach and memorable acting.
