Ryan Coogler's latest project may have revitalized the concept of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, securing its place in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative 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 man — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a movie that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, the star aimed to defy assumptions by venturing into a pure scary movie rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among African American film's most praised performers, Bassett gives a commanding performance with her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. 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 prosthetics to masquerade as a preacher and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but influential entry characterized by its bold style and memorable acting.
