Ryan Coogler's latest project may have revitalized the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, securing its place in the canon by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was eager to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most praised performers, Bassett delivers a commanding performance alongside Payne, a familiar face from the era. Meanwhile, Murphy spends the majority of the film with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his macabre part as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with critics later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but impactful film characterized by its bold style and memorable acting.
