Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking all at once, earning its position in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available 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
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most praised actresses, she gives a powerful performance with Payne, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a final section filled with seduction, as life and eternal punishment hang in the balance. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with critics later praising Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing 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 influential film characterized by its bold style and unforgettable performances.
