Ryan Coogler's latest project may have revitalized the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your frights this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation 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 found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most praised performers, Bassett delivers a powerful acting with her co-star, a familiar face from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’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 comedy and horror, even when employed by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, 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 all Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation hang in the balance. The film concludes with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
