Ryan Coogler's recent project may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take a cue from Marshall, enriching his own protagonist's lore in the director's take on the African American horror niche: 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 edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your frights this Halloween.
A Tale of Two Cities
Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a film that expertly mixes scares and laughs.
Directorial Ambitions
Fresh off his last installment in the iconic horror series, Craven was keen to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among Black cinema’s most acclaimed performers, she gives a powerful performance with her co-star, a well-known actor from the time. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the humor and fear, even when utilized by other actors).
Dark Seduction
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 takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. 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 beliefs.
As the plot unfolds, it becomes more darkly romantic, featuring transformations and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment are at stake. The film ends with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie flashes glimpses of genius that could have been more prominent had all participants 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 canon of African American scary movies, an overlooked but influential entry characterized by its daring approach and memorable acting.
