🔗 Share this article

Ryan Coogler's recent work may have revitalized the idea of African American undead, but the origins of this cinematic category trace 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 cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something majestic, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.

Years afterward, the comedic star appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and thought-provoking simultaneously, earning its position in the hall of fame by juggling all three while respecting the subgenre's legacy.

Debuted 30 years ago 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.

A Tale of Two Cities

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming 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 ship is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the mood for a film that handily balances scares and laughs.

Directorial Ambitions

Recently after his last installment in the Nightmare on Elm Street series, Craven 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 artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film hits its stride, it opens up to its assets — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among African American film's most acclaimed actresses, she delivers a commanding performance with her co-star, a well-known actor from the era. Meanwhile, 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. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style enhances the humor and fear, even when utilized by the cast).

Supernatural Romance

When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.

As the plot progresses, it becomes more darkly romantic, including metamorphoses and discoveries of heritage. This results in a final section packed with seduction, as life and eternal punishment hang in the balance. The movie ends with a stinger suggesting a potential sequel, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an overlooked but impactful film characterized by its bold style and unforgettable performances.