Ryan Coogler's latest work may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your scares this spooky season.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, run into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). At the same time, Murphy wanted to defy assumptions by diving into a pure scary movie based on Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. Among Black cinema’s most praised actresses, Bassett delivers a commanding performance alongside her co-star, a familiar face from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a third act packed with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The film shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an underappreciated but impactful film characterized by its daring approach and unforgettable performances.
