Ryan Coogler's recent project may have revitalized the idea of Black vampires, but the roots of this subgenre trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, the performer transformed the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from his predecessor, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled 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, frightening, and intellectually stimulating simultaneously, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want 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 traveling 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 clan.
Maximillian arrives in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the mood for a film that expertly mixes horror and humor.
Creative Visions
Fresh off his last installment in the Nightmare on Elm Street series, Craven was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film hits its stride, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the vampire's love interest, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of African American film's most praised performers, she gives a commanding acting with her co-star, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo 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 standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie hits its stride — the suspense builds, 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 intervene. He murders her housemate, 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 story progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a third act filled with seduction, as mortality and damnation are at stake. The film ends with a teaser hinting at a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. As years passed, it gained popularity as a cult favorite, with critics later praising Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The movie shows glimpses of genius 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 deservedly secured its place in the history of African American scary movies, an underappreciated but influential entry characterized by its daring approach and memorable acting.
