Ryan Coogler's latest project may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from Marshall, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears 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 funny, frightening, and intellectually stimulating all at once, securing its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming 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 vessel is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, run into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a movie that handily balances scares and laughs.
Directorial Ambitions
Fresh off his last installment in the Nightmare on Elm Street series, the director was eager 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, Murphy aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding performance with Payne, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a third act packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. 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 viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
