Ryan Coogler's recent work may have revitalized 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 seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy 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. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, earning its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Released three decades back 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 frights this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of 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 ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, setting the mood for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of Black cinema’s most praised performers, Bassett gives a powerful performance alongside Payne, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon release. As years passed, it found new life as a beloved classic, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but influential entry defined by its daring approach and unforgettable performances.
