Ryan Coogler's latest work may have breathed new life into the concept of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while respecting the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.
An Urban Vampire Story
Like Prince Akeem in Coming to America (Murphy's classic from 1988), the vampire lead is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf leap from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a film that handily balances horror and humor.
Artistic Goals
Fresh off his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, the star aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. The clash of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the movie 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 dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among African American film's most acclaimed actresses, Bassett delivers a powerful acting alongside her co-star, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a third act filled with temptation, as life and eternal punishment are at stake. The film ends 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 received largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential film defined by its daring approach and memorable acting.
