Ryan Coogler's recent work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw inspiration from his predecessor, enriching his own character's mythology in the director'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 persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you need a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, dart into an alley, and transform into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that handily balances horror and humor.
Artistic Goals
Recently after his final entry in the iconic horror series, the director was eager to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, the star aimed to subvert expectations by diving into a pure scary movie 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 generally sluggish start. But once the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
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), brings a procedural element to the story. Among African American film's most acclaimed actresses, Bassett gives a powerful performance with her co-star, a well-known actor from the time. In the meantime, Murphy spends the majority of the film with his comedic partner, creating a uproarious classic comedy pair as Hardison’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 standout moment of how the star's comedic style elevates the comedy and horror, even when utilized by other actors).
Supernatural Romance
When the two leads meet and the stars appear together, the movie reaches its peak — the tension heightens, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.
As the story unfolds, it becomes more darkly romantic, including metamorphoses 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 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 got largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an overlooked but impactful entry characterized by its daring approach and memorable acting.
