Ryan Coogler's latest work may have breathed new life into the concept of African American undead, but the roots of this subgenre trace back to the Blaxploitation era. One of the most iconic early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from Marshall, deepening his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, earning its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump 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 starts, establishing the tone for a film that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). Meanwhile, the star wanted to defy assumptions by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, 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 Black cinema’s most acclaimed actresses, Bassett gives a powerful acting with her co-star, a well-known actor from the era. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a uproarious 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 standout moment of how the star's comedic style enhances the humor and fear, even when utilized by other actors).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to take away everything 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 prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and revelations of origins. This leads to a final section filled with seduction, as life and eternal punishment hang in the balance. The movie ends with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. As years passed, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but influential entry characterized by its daring approach and unforgettable performances.
