Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the part 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 his predecessor, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and thought-provoking all at once, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, Craven was keen to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the narrative. Among African American film's most praised performers, Bassett gives a commanding performance with her co-star, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the humor and fear, 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 fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation are at stake. The film concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. 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 mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but influential entry defined by its daring approach and unforgettable performances.
