Ryan Coogler's latest work may have revitalized the idea of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, giving his figure 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 Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, securing its position in the canon by juggling all three while respecting the heritage of the category.
Released 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 scares this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, Craven was keen to break from his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its assets — 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 (the actor), brings a procedural element to the narrative. Among African American film's most acclaimed performers, she gives a commanding performance with her co-star, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her housemate, drives a wedge 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 story unfolds, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This leads to a final section filled with seduction, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a modest box office return 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 spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an underappreciated but influential film defined by its daring approach and unforgettable performances.
