Ryan Coogler's latest work may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, the performer elevated the part into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, securing its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your scares this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, Bassett gives a commanding acting alongside her co-star, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a uproarious 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 appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The movie concludes with a stinger hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.
