Ryan Coogler's latest project may have revitalized the idea of Black vampires, but the origins of this subgenre date back to the Blaxploitation era. One of the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the part into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star appeared to draw a cue from his predecessor, deepening his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled 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 funny, terrifying, and thought-provoking simultaneously, earning its position in the canon by balancing all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your scares this Halloween.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a film that expertly mixes horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie based on vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, she gives a commanding performance alongside her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with temptation, as mortality and damnation hang in the balance. The film concludes with a teaser 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 largely critical reception upon release. 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 horror and comedy. The film shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but impactful entry defined by its bold style and unforgettable performances.
