🔗 Share this article

Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the roots 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, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, Eddie Murphy appeared to draw a cue from his predecessor, deepening his own protagonist's lore 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 demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking all at once, securing its place in the canon by balancing all three while respecting the heritage of the category.

Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you want a little comedy with your scares this spooky season.

A Tale of Two Cities

Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival 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 inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a movie that expertly mixes horror and humor.

Artistic Goals

Recently after his final entry in the Nightmare on Elm Street series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the film clicks into high gear, it unfolds to its strengths — like its diverse ensemble.

Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most praised actresses, Bassett delivers a commanding acting alongside Payne, a familiar face from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role 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 utilized by other actors).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars appear together, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.

As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a third act packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but impactful film defined by its bold style and unforgettable performances.