Ryan Coogler's latest project may have breathed new life into the concept of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most memorable pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped 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 all at once, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your frights this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an heir of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, the director was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. One of African American film's most acclaimed actresses, she gives a powerful performance alongside her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the plot progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential entry defined by its bold style and unforgettable performances.
