Ryan Coogler's latest work may have revitalized the idea of Black vampires, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something regal, giving his character an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from his predecessor, deepening 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 ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle 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 ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to break from 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 laughs and genuine scares). At the same time, Murphy aimed to subvert expectations by venturing into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But when the movie clicks into high gear, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the story. One of Black cinema’s most praised performers, she delivers a powerful performance alongside her co-star, a well-known actor from the time. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo 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 standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars finally share the screen, the movie hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge in 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 increasingly Gothic, including transformations and revelations of origins. This leads to a third act packed with seduction, as mortality and damnation are at stake. The movie ends with a teaser hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. As years passed, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but impactful entry characterized by its bold style and unforgettable performances.
