Ryan Coogler's recent work may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking all at once, securing its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on Oct. 27, 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 scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy wanted to subvert expectations by diving into a straight horror based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of Max's origins and its generally sluggish start. But when the film hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most acclaimed actresses, Bassett delivers a commanding acting with Payne, a familiar face from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then intervene. He murders her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. Over time, it found new life 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 moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful film defined by its daring approach and unforgettable performances.