Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take a cue 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 forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, earning its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a little comedy with your scares this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). Meanwhile, Murphy aimed to defy assumptions by venturing into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most praised actresses, she gives a powerful performance alongside Payne, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Dark Seduction
When the two leads meet and the stars appear together, the film reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film shows moments of brilliance that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
