Ryan Coogler's recent project may have revitalized the idea of Black vampires, but the roots of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take a cue from Marshall, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir 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 funny, terrifying, and intellectually stimulating all at once, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a film that handily balances 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 create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, the star wanted to defy assumptions by diving into a pure scary movie based on 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 opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most acclaimed actresses, Bassett delivers a powerful acting alongside Payne, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a final section filled with seduction, as mortality and damnation are at stake. 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 made a modest box office return and got largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with critics later praising 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 in agreement on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but influential film defined by its bold style and memorable acting.
