Ryan Coogler's recent work may have revitalized the concept of Black vampires, but the origins of this subgenre trace back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and intellectually stimulating all at once, securing its position in the canon by juggling all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a dark creature jump from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music kicks in, 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, Craven was eager to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, 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. One of African American film's most acclaimed actresses, Bassett delivers a commanding performance with Payne, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, 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 reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a final section packed with seduction, as life and eternal punishment hang in the balance. The movie concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
