Ryan Coogler's latest project may have breathed new life into the concept of Black vampires, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from his predecessor, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, terrifying, and intellectually stimulating all at once, securing its position in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival 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 ship is discovered by ship inspector 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, dart into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, setting the tone for a movie that expertly mixes scares and laughs.
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 exploited scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of Black cinema’s most praised actresses, Bassett gives a commanding acting with her co-star, a familiar face from the era. In the meantime, the lead spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This results in a third act filled with seduction, as mortality and damnation are at stake. The movie concludes with a stinger hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie flashes moments of brilliance 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 African American scary movies, an overlooked but impactful entry defined by its bold style and unforgettable performances.
