Ryan Coogler's latest work may have revitalized the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming 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 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then witnesses a dark creature leap from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). At the same time, Murphy wanted to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the narrative. Among African American film's most praised actresses, Bassett delivers a commanding performance alongside Payne, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays 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).
Gothic Intrigue
When the two leads meet and Murphy and Bassett appear together, the movie reaches its peak — the suspense builds, 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 kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The film ends with a stinger hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its sharp blend of horror and comedy. The film flashes glimpses of genius that could have been more prominent had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful entry defined by its bold style and unforgettable performances.
