Ryan Coogler's recent project may have breathed new life into the idea of Black vampires, but the origins of this cinematic category date back to the 1970s cultural movement. One of 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 caricature, Marshall elevated the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir 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 funny, terrifying, and thought-provoking simultaneously, earning its place in the hall of fame by balancing all three while respecting the subgenre's legacy.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you need a little comedy with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to New York City. But rather than journeying from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose sailors has been mysteriously slaughtered, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature jump from the ship, dart into an alley, and transform into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, the director was eager to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). Meanwhile, Murphy aimed to subvert expectations by venturing into a straight horror rooted in vampire mythology. The clash of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds 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 colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding performance with her co-star, a well-known actor from the time. In the meantime, the lead spends most of his screen time with his comedic partner, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part 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 the cast).
Dark Seduction
When the two leads meet and Murphy and Bassett finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section packed with temptation, as mortality and damnation hang in the balance. The movie concludes with a teaser suggesting a potential sequel, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon release. Over time, it found new life as a cult favorite, with reviewers later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The film flashes glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an underappreciated but impactful entry characterized by its daring approach and unforgettable performances.
