Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the roots of this cinematic category 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 role is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, Eddie Murphy appeared to draw a cue from Marshall, enriching his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist 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 demonstrates that Black vampire stories can be funny, terrifying, and thought-provoking all at once, earning its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to New York City. But instead of 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 clan.
The character makes his entrance in New York on a ghost ship whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a dark creature jump from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, the director was keen to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy aimed to defy assumptions by diving into a straight horror rooted in Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most praised performers, Bassett gives a commanding acting with Payne, a well-known actor from the time. In the meantime, Murphy spends most of his screen time with his comedic partner, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays during the movie 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 finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to remove all Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a final section packed with temptation, as mortality and damnation are at stake. The movie ends with a teaser hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an overlooked but influential film defined by its daring approach and unforgettable performances.
