Ryan Coogler's recent project may have revitalized the concept of African American undead, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, securing its position in the canon by juggling all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a little comedy with your scares this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes horror and humor.
Artistic Goals
Recently after his last installment in the iconic horror series, the director was keen to break from his scary movie image and make 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 wanted to subvert expectations by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. One of African American film's most acclaimed actresses, Bassett delivers a powerful performance with Payne, 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 the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, 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 intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a third act filled with seduction, as life and eternal punishment are at stake. The movie concludes with a stinger hinting at a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful entry defined by its daring approach and memorable acting.
