Ryan Coogler's recent project may have breathed new life into the concept of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven'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 proves that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, securing its place in the hall of fame by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform 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 scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, the director was keen to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins 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 object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most praised actresses, Bassett delivers a commanding acting with her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with his comedic partner, 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 throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her roommate, creates conflict 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 story unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. Over time, it found new life as a beloved classic, with critics later praising Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The film shows moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of Black horror, an overlooked but impactful film defined by its bold style and memorable acting.
