Ryan Coogler's latest project may have breathed new life into the idea of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant 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 humorous, frightening, and thought-provoking simultaneously, earning its place in the canon by juggling all three while respecting the heritage of the category.
Debuted three decades back on October 27th, 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 spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most praised performers, she delivers a powerful acting with Payne, a familiar face from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken 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 hang in the balance. The movie concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.
