Ryan Coogler's recent project may have breathed new life into the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, the performer transformed the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 funny, frightening, and thought-provoking all at once, earning its place in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a dash of humor with your frights this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses 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. Funky 1970s-inspired soundtrack kicks in, setting the mood for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his final entry in the iconic horror series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, the star wanted to defy assumptions by diving into a pure scary movie based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among African American film's most praised performers, Bassett delivers a commanding performance with Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a third act packed with seduction, as life and eternal punishment are at stake. The film ends with a stinger suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful film characterized by its bold style and memorable acting.
