Ryan Coogler's latest project may have revitalized the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. One of the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing 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 the director's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors escaped 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 intellectually stimulating all at once, securing its place in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted three decades back on October 27th, 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.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, run into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack 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 horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). Meanwhile, the star aimed to defy assumptions by diving into a pure scary movie rooted in vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among Black cinema’s most acclaimed performers, she delivers a powerful performance with Payne, a familiar face from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by other actors).
Supernatural Romance
When the two leads meet and the stars appear together, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction takes center stage. Max’s plan is to remove everything Rita has in her life and then intervene. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her beliefs.
As the plot unfolds, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a final section filled with temptation, as mortality and damnation hang in the balance. The movie ends with a stinger hinting at a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it found new life as a cult favorite, with critics later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential entry characterized by its daring approach and memorable acting.
