Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer elevated the role into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own protagonist's lore in the director's take 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 brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, earning its place in the canon by balancing all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a movie that handily balances horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. One of Black cinema’s most praised actresses, she delivers a commanding acting with Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a third act packed with seduction, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but influential entry defined by its bold style and unforgettable performances.
