Ryan Coogler's recent work may have revitalized the concept of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, frightening, and thought-provoking all at once, 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 a popular platform, making it an essential watch if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), 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, aiming to locate and ensure the survival of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his last installment in the iconic horror series, the director was eager to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it unfolds to its strengths — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the story. Among Black cinema’s most praised performers, Bassett gives a powerful acting alongside Payne, a familiar face from the era. In the meantime, the lead spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the story progresses, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a third act packed with seduction, as mortality and damnation hang in the balance. The film ends with a stinger hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon release. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix 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 producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the canon of African American scary movies, an underappreciated but impactful film defined by its bold style and memorable acting.
