Ryan Coogler's latest project may have revitalized the idea of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from Marshall, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, earning its position in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you want a little comedy with your frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a film that handily balances horror and humor.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, the star wanted to subvert expectations by diving into a straight horror based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — 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 Black cinema’s most acclaimed actresses, Bassett gives a powerful acting alongside Payne, a familiar face from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching 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 humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a final section packed with temptation, as mortality and damnation are at stake. The film concludes with a teaser hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an underappreciated but impactful entry characterized by its daring approach and memorable acting.
