Ryan Coogler's recent work may have breathed new life into the concept of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, William Marshall's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the role into something majestic, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped 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 intellectually stimulating all at once, earning its position in the canon by juggling all three while honoring the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But instead of traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, run into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a film that expertly mixes horror and humor.
Artistic Goals
Fresh off his final entry in the iconic horror series, Craven was eager to move beyond his scary movie image and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, the star aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. The clash of those artistic aims explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most praised performers, she gives a powerful performance alongside her co-star, a familiar face from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (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 enhances the humor and fear, 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 fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser suggesting a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon release. As years passed, it found new life as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
