Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from his predecessor, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking all at once, earning its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that expertly mixes horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. Among Black cinema’s most praised performers, Bassett gives a commanding performance with Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her housemate, 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 faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a final section filled with seduction, as life and eternal punishment are at stake. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. Over time, it found new life as a beloved classic, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but impactful film defined by its bold style and unforgettable performances.
