Ryan Coogler's recent project 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 seminal 1972 movie Blacula. In that film, the actor's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating all at once, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Released 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 dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector 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, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone for a movie that handily balances horror and humor.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie 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 generally sluggish start. But once the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. One of Black cinema’s most praised performers, she delivers a powerful acting alongside Payne, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating 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 appearance deteriorates 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).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away all Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of African American scary movies, an overlooked but impactful entry characterized by its bold style and unforgettable performances.
