Ryan Coogler's latest project may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take a cue from his predecessor, deepening his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating all at once, earning its place in the canon by balancing all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a little comedy with your scares this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives 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 most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, dart into an alley, and transform into a man — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, establishing the mood for a movie that expertly mixes scares and laughs.
Artistic Goals
Recently after his final entry in the iconic horror series, Craven was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the movie hits its stride, it opens up 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 partner and love interest, detective Justice (Allen Payne), brings a procedural element to the narrative. Among African American film's most acclaimed performers, Bassett gives a commanding performance with Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as the actor'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 Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section packed with temptation, as life and eternal punishment are at stake. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it found new life as a cult favorite, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential film characterized by its daring approach and memorable acting.
