Ryan Coogler's recent project may have breathed new life into the concept of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors 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 funny, terrifying, and intellectually stimulating all at once, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump 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 movie that expertly mixes horror and humor.
Creative Visions
Recently after his final entry in the iconic horror series, Craven was keen to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it unfolds 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 (the actor), brings a crime-drama edge to the story. Among African American film's most praised performers, she gives a powerful acting with her co-star, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment hang in the balance. The movie ends with a stinger suggesting a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, 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 characterized by its daring approach and memorable acting.
