Ryan Coogler's recent work may have revitalized the concept of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, 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 escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its position in the canon by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago 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
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most praised actresses, Bassett gives a powerful performance alongside her co-star, a familiar face from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, 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 all Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The film ends with a teaser suggesting a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received 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 the leads, and its sharp blend of frights and fun. The movie shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.
