Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while respecting the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature jump from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack 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, the director was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, the star wanted to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the narrative. One of African American film's most acclaimed performers, Bassett delivers a commanding performance with her co-star, a familiar face from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove 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 disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment are at stake. The movie concludes with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful entry defined by its daring approach and unforgettable performances.
