Ryan Coogler's recent project may have revitalized the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir 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, terrifying, and thought-provoking simultaneously, securing its place in the hall of fame by balancing 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 must-see if you want a little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But rather than journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a film that handily balances scares and laughs.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of Black cinema’s most acclaimed actresses, Bassett delivers a powerful acting alongside Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment are at stake. The film concludes with a teaser hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
