Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration 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 fled 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 intellectually stimulating all at once, securing its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, run into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash 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 film clicks into high gear, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. One of Black cinema’s most acclaimed performers, she delivers a commanding acting with her co-star, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, 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 roommate, 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 plot progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but impactful film defined by its daring approach and unforgettable performances.
