Ryan Coogler's recent 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. Among the most memorable pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from his predecessor, enriching his own character's mythology in the director's interpretation 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 hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking all at once, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York on a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then witnesses a black wolf jump from the ship, dart into an alley, and morph into a human — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that expertly mixes horror and humor.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, Murphy aimed to defy assumptions by diving into a straight horror based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie hits its stride, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the story. One of African American film's most praised actresses, she delivers a powerful performance alongside her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper 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 utilized by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her beliefs.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a third act packed with temptation, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The film shows moments of brilliance that could have been more prominent had all participants been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of African American scary movies, an underappreciated but impactful film characterized by its bold style and memorable acting.
