Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the roots of this cinematic category date back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening 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 ancestors 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 thought-provoking all at once, securing its place in the hall of fame by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a phantom vessel whose crew has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, setting the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his last installment in the iconic horror series, Craven was eager to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by venturing into a straight horror based on Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the movie hits its stride, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a crime-drama edge to the narrative. Among African American film's most praised performers, Bassett gives a commanding acting with her co-star, a well-known actor from the era. In the meantime, the lead spends most of his screen time with his comedic partner, forming a uproarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a third act filled with temptation, as life and eternal punishment are at stake. The film ends with a teaser hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its clever mix of frights and fun. The movie flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, 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 unforgettable performances.
