Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the African American horror niche: 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 edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, securing its position in the canon by juggling all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region 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 crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a dark creature leap from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was eager to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. One of African American film's most acclaimed performers, Bassett delivers a commanding acting with Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment are at stake. The film ends with a stinger suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film shows moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an underappreciated but influential entry defined by its daring approach and unforgettable performances.
