Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from his predecessor, deepening his own character's mythology in Wes Craven's take 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 persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your frights this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod 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 transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of Black cinema’s most praised actresses, she delivers a commanding performance with Payne, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.
As the story progresses, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a third act packed with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life 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 flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but influential film defined by its bold style and unforgettable performances.
