Ryan Coogler's latest project may have breathed new life into the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while respecting the subgenre's legacy.
Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, dart into an alley, and morph into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a film that handily balances horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, the star wanted to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it opens up to its strengths — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a powerful performance with her co-star, a familiar face from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his macabre part as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When the two leads meet and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section filled with temptation, as mortality and damnation are at stake. 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 moderate financial success and received largely critical reception upon debut. As years passed, it found new life as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an underappreciated but influential film defined by its daring approach and memorable acting.
