Ryan Coogler's recent work may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while honoring the heritage of the category.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your scares this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, the star aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie hits its stride, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of Black cinema’s most praised actresses, she delivers a commanding performance with Payne, a well-known actor from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, 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 appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, the scares intensify, and their sinister attraction takes center stage. 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 make-up effects to disguise himself as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The film concludes with a stinger suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got 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 the leads, and its sharp blend of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.
