Ryan Coogler's recent work may have revitalized the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from Marshall, enriching his own protagonist's lore in the director's interpretation on the Black vampire subgenre: 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 demonstrates 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 juggling all three while honoring the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy 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, Craven was keen to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its assets — 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 procedural element to the story. One of Black cinema’s most praised actresses, she gives a powerful performance alongside Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing 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 enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the film hits its stride — the tension heightens, 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 swoop in. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a third act filled with temptation, as mortality and damnation are at stake. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The movie flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
