Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, securing its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes horror and humor.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, the star aimed to subvert expectations by venturing into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most praised performers, Bassett delivers a commanding performance with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a third act packed with seduction, as mortality and damnation hang in the balance. The film ends with a stinger hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. As years passed, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The film shows moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential entry defined by its daring approach and memorable acting.
