Ryan Coogler's latest project may have breathed new life into the concept of African American undead, 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, William Marshall's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a little comedy with your scares this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most acclaimed performers, she gives a commanding performance alongside Payne, a familiar face from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with seduction, as mortality and damnation are at stake. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with reviewers later applauding 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 delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but influential entry defined by its bold style and unforgettable performances.
