Ryan Coogler's recent project may have breathed new life into the idea of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears 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 simultaneously, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature 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 Blaxploitation-style music kicks in, setting the mood for a film that handily balances horror and humor.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
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), brings a procedural element to the narrative. One of Black cinema’s most acclaimed actresses, she gives a powerful acting with her co-star, a familiar face from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the story unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment are at stake. The film ends with a teaser suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes 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 spot in the canon of African American scary movies, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
