Ryan Coogler's recent project may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant 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 Black vampire stories can be humorous, terrifying, and intellectually stimulating simultaneously, earning its place in the hall of fame by juggling all three while respecting the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.
A Tale of Two Cities
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 traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered 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 jump from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a movie that handily balances horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by diving into a straight horror rooted in Dracula lore. The conflict of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most praised actresses, Bassett gives a commanding performance with Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with temptation, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the spark between the leads, 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 cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but influential entry defined by its daring approach and unforgettable performances.
