Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from his predecessor, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his final entry in the iconic horror series, Craven was eager to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, the star aimed to defy assumptions by diving into a straight horror rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most acclaimed performers, Bassett delivers a commanding acting with her co-star, a familiar face from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by other actors).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her roommate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her beliefs.
As the story progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This leads to a final section filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but influential entry defined by its daring approach and memorable acting.
