Ryan Coogler's latest project may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something regal, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror based on vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. One of African American film's most acclaimed performers, she gives a commanding acting with Payne, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
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 takes center stage. Max’s plan is to take away 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 undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a final section packed with seduction, as mortality and damnation hang in the balance. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but influential entry defined by its bold style and unforgettable performances.
