Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears 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 humorous, terrifying, and intellectually stimulating all at once, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, run into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and genuine scares). At the same time, the star aimed to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most acclaimed performers, she delivers a commanding performance with her co-star, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing 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 comedy and horror, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a final section filled with temptation, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential film defined by its daring approach and unforgettable performances.
