Ryan Coogler's latest work may have revitalized the concept of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, dart into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes horror and humor.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to move beyond his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror based on vampire mythology. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, she gives a powerful acting with Payne, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part 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).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the story progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but impactful film defined by its bold style and unforgettable performances.
