Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall transformed the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star 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. Murphy's Maximillian is a descendant of Dracula whose forebears fled 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, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a dark creature leap 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 tone for a movie that expertly mixes scares and laughs.
Artistic Goals
Recently after his final entry in the iconic horror series, Craven 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 mined horror tropes for both laughs and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie based on Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of African American film's most praised performers, she delivers a commanding performance with her co-star, a familiar face from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a final section filled with temptation, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry 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 aligned on a cohesive approach, rather than producing the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful film defined by its bold style and unforgettable performances.
