Ryan Coogler's recent work may have breathed new life into the idea of African American undead, but the origins of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, earning its place in the hall of fame by juggling all three while respecting the heritage of the category.
Debuted three decades back 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 frights this Halloween.
A Tale of Two Cities
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives 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 (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that expertly mixes scares and laughs.
Creative Visions
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 blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its strengths — like its eclectic cast.
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), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, she gives a powerful performance alongside Payne, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (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 utilized by other actors).
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 takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her beliefs.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section packed with seduction, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The movie flashes 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 audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but impactful film characterized by its daring approach and memorable acting.
