Ryan Coogler's latest project may have breathed new life into the concept 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 film, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and thought-provoking all at once, earning its place in the canon by juggling all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, run into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a movie that expertly mixes horror and humor.
Artistic Goals
Recently after his last installment in the iconic horror series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to subvert expectations by diving into a straight horror based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its eclectic cast.
The acclaimed actress, 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 Black cinema’s most acclaimed actresses, she delivers a powerful performance alongside 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 the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a final section packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a stinger suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. As years passed, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but influential entry characterized by its bold style and memorable acting.
