Ryan Coogler's latest work may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted 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 place in the hall of fame by balancing all three while respecting 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 dash of humor with your frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy'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, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered 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 black wolf jump from the ship, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, establishing the tone for a movie that handily balances horror and humor.
Creative Visions
Recently after his final entry in the iconic horror 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 scary conventions for both comedy and genuine scares). At the same time, the star aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. 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 when the film hits its stride, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. One of African American film's most praised performers, she delivers a powerful performance with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken 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 life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential film defined by its bold style and unforgettable performances.
