Ryan Coogler's latest work may have revitalized the concept of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from Marshall, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official 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, dart into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music starts, setting the tone for a film that expertly mixes horror and humor.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among Black cinema’s most praised actresses, she delivers a commanding acting with her co-star, a familiar face from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.
As the story progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This results in a third act packed with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.
