Ryan Coogler's recent project may have breathed new life into the idea of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's 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 intellectually stimulating all at once, earning its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an offspring 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 discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the mood for a movie that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was keen to move beyond his scary movie image and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the film hits its stride, it opens up to its strengths — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the story. Among Black cinema’s most acclaimed actresses, Bassett delivers a powerful performance with her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (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 elevates the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away all Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and weaken her faith.
As the plot unfolds, 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 movie ends with a stinger suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of horror and comedy. The film shows glimpses of genius that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful film characterized by its bold style and memorable acting.
