Ryan Coogler's latest project may have breathed new life into the idea of African American undead, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the part into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled 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, terrifying, and intellectually stimulating all at once, securing its position in the canon by balancing all three while respecting the subgenre's legacy.
Released three decades back 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 scares this spooky season.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his undead bloodline 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 ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a film that expertly mixes scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, Murphy aimed to defy assumptions by venturing into a straight horror rooted in vampire mythology. The clash of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. One of African American film's most acclaimed actresses, she gives a powerful acting alongside Payne, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing 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 elevates the comedy and horror, even when utilized by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — 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, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This leads to a third act packed with seduction, as life and eternal punishment are at stake. The film ends with a stinger hinting at a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The film shows moments of brilliance that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but influential film defined by its daring approach and unforgettable performances.
