Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: 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 edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating all at once, earning its place in the canon by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector 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 longer Black or White video. Groovy Blaxploitation-style music starts, establishing the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most acclaimed performers, Bassett delivers a powerful performance with her co-star, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as Hardison’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 Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).
Supernatural Romance
When the two leads meet and the stars appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He murders her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a final section packed with temptation, as life and eternal punishment hang in the balance. The movie ends with a teaser hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it found new life as a beloved classic, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of frights and fun. The movie flashes glimpses of genius that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential entry defined by its bold style and memorable acting.
