Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, securing its place in the canon by balancing all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) 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 man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the tone for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and make 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, the star aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most praised performers, Bassett gives a powerful acting with her co-star, a well-known actor from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He murders her housemate, drives a wedge in 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 more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The film ends with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The film shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but impactful entry defined by its daring approach and memorable acting.
