Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, the performer 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 inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, securing its place in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, dart into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a film that handily balances horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror 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 scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the narrative. One of Black cinema’s most acclaimed actresses, Bassett gives a commanding performance with Payne, a familiar face from the era. In the meantime, the lead spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but influential entry characterized by its daring approach and memorable acting.
