Ryan Coogler's recent work may have revitalized the concept of African American undead, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something regal, giving his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors 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 intellectually stimulating simultaneously, earning its position in the hall of fame 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 Tubi, making it an essential watch if you want a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to New York City. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a movie that handily balances scares and laughs.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was keen to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, Murphy aimed to defy assumptions by diving into a straight horror rooted in Dracula lore. The clash of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the movie clicks into high gear, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding performance with Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when employed by the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.
As the story progresses, it becomes more darkly romantic, featuring transformations and revelations of origins. This results in a final section packed with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser hinting at 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. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The movie flashes glimpses of genius that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but impactful entry defined by its daring approach and memorable acting.
