Ryan Coogler's latest project may have breathed new life into the concept of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. Among the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Decades later, Eddie Murphy seemed to take inspiration from his predecessor, deepening 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 persecuted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a dash of humor with your scares this Halloween.
An Urban Vampire Story
Like the royal character in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives 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 (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack starts, setting the tone for a film that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, the director was keen to break from his horror reputation 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 wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins 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 (the actor), adds a crime-drama edge to the story. One of Black cinema’s most praised actresses, she gives a powerful acting with her co-star, a well-known actor 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 sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger hinting at a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon release. As years passed, it gained popularity as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the canon of Black horror, an overlooked but impactful entry defined by its bold style and unforgettable performances.
