🔗 Share this article

Ryan Coogler's latest work may have revitalized the concept of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a proud African prince.

Decades later, the comedic star appeared to draw a cue from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, earning its position in the canon by juggling 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 want a little comedy with your scares this Halloween.

A Tale of Two Cities

Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the survival of his undead bloodline with an offspring of his tribe.

Maximillian arrives in New York on a phantom vessel whose crew has been inexplicably killed, 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 film's funniest characters. Silas then witnesses a black wolf jump from the ship, run into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a movie that handily balances scares and laughs.

Creative Visions

Fresh off his final entry in the iconic horror series, Craven was keen to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star wanted 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 the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of Black cinema’s most acclaimed actresses, Bassett gives a commanding acting with her co-star, a familiar face from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious 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 highlight of how the star's comedic style enhances the humor and fear, even when employed by other actors).

Dark Seduction

When the two leads meet and the stars finally share the screen, the movie reaches its peak — the suspense builds, the fear escalates, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He murders her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and weaken her beliefs.

As the story unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This leads to a final section filled with seduction, as mortality and damnation hang in the balance. The movie ends with a stinger hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the spark between the leads, and its sharp blend of frights and fun. The film shows moments of brilliance that could have been more prominent had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful film characterized by its bold style and unforgettable performances.