🔗 Share this article

Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a stereotype, the performer transformed the part into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, the comedic star seemed to take inspiration from Marshall, enriching his own character's mythology 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 proves that Black vampire stories can be funny, terrifying, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while honoring the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this Halloween.

From Zamunda to Brooklyn

Similar to the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.

The character makes his entrance in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a film that expertly mixes horror and humor.

Creative Visions

Fresh off his final entry in the iconic horror series, Craven was keen to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its strengths — like its eclectic cast.

The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a crime-drama edge to the narrative. Among Black cinema’s most praised actresses, she gives a powerful performance with Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by other actors).

Gothic Intrigue

When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, 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 roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.

As the story unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This results in a third act packed with seduction, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting 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 mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.