Ryan Coogler's latest project may have revitalized the concept of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated 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 take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch 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 (Murphy's classic from 1988), the vampire lead is drawn to New York City. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew 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 transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a movie that expertly mixes scares and laughs.
Artistic Goals
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, the star wanted to subvert expectations by diving into a straight horror based on vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most praised actresses, Bassett delivers a commanding performance alongside Payne, a familiar face from the time. In the meantime, the lead 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. (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 enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her love interest, 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 discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment are at stake. The movie ends 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 got largely critical reception upon release. Over time, it gained popularity 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 in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful film characterized by its bold style and unforgettable performances.
