Ryan Coogler's latest work may have breathed new life into the concept of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, deepening his own character's mythology in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while honoring the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a little comedy with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a movie that handily balances horror and humor.
Creative Visions
Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, the star aimed to defy assumptions by venturing into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie clicks into high gear, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. One of Black cinema’s most acclaimed performers, she delivers a commanding performance with Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the movie hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the plot unfolds, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the electric chemistry Murphy and Bassett, and its clever mix of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but impactful film characterized by its bold style and unforgettable performances.
