Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the origins of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from Marshall, deepening his own character's mythology in Wes Craven's interpretation 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 edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, earning its place in the canon by juggling all three while honoring the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling 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 heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, 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 leap from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, establishing the tone for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a straight horror based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds to its strengths — 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 (Allen Payne), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, she gives a powerful acting alongside Payne, a familiar face from the era. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film flashes 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 audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.
