Ryan Coogler's recent work may have revitalized the concept of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall elevated the part into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven'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 tales of African American undead can be humorous, terrifying, and thought-provoking simultaneously, earning its position in the canon by juggling all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a dash of humor with your frights this Halloween.
An Urban Vampire Story
Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is pulled to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his clan.
The character makes his entrance in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature jump from the ship, dart into an alley, and morph into a human — like the iconic routine from the extended Black or White video. Funky Blaxploitation-style music kicks in, establishing the mood for a movie that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the iconic horror series, the director was eager to move beyond his scary movie image and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). Meanwhile, Murphy aimed to defy assumptions by diving into a straight horror rooted in vampire mythology. The clash 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 assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among African American film's most praised actresses, she delivers a powerful acting with her co-star, a familiar face from the era. 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 Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how the star's comedic style elevates the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and the stars appear together, the film reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then intervene. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This leads to a final section packed with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with critics later applauding Craven’s direction, the spark between the leads, and its clever mix of frights and fun. The film shows moments of brilliance that might have shone brighter had all participants been in agreement on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but impactful film defined by its bold style and unforgettable performances.