Ryan Coogler's recent project may have revitalized the concept of African American undead, but the origins 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, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir 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 intellectually stimulating all at once, earning its place in the canon by juggling all three while respecting the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was eager to break from his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, the star aimed to defy assumptions by diving into a pure scary movie based on vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the story. Among African American film's most acclaimed performers, she delivers a commanding performance alongside her co-star, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act packed with temptation, as life and eternal punishment are at stake. The film concludes with a teaser suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. As years passed, it found new life as a cult favorite, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential film defined by its bold style and memorable acting.
