Ryan Coogler's recent project may have revitalized the idea of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. One of the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the part into something majestic, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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 humorous, terrifying, and intellectually stimulating all at once, earning its place in the canon by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a dash of humor with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off 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 scary conventions for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds to its assets — like its eclectic cast.
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 (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most praised performers, Bassett delivers a commanding acting with Payne, a familiar face from the time. Meanwhile, Murphy spends the majority of the film with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment are at stake. The film ends with a stinger hinting at 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 largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an overlooked but impactful film defined by its daring approach and unforgettable performances.
