Ryan Coogler's latest work may have revitalized the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that film, the actor'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 majestic, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology in Wes Craven's interpretation 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 persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while honoring the subgenre's legacy.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a little comedy with your scares this spooky season.
A Tale of Two Cities
Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to New York City. But instead of journeying 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 heir of his clan.
The character makes his entrance in New York on a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a dark creature jump from the ship, dart into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that expertly mixes horror and humor.
Artistic Goals
Fresh off his final entry 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 subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, the star aimed to subvert expectations by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it opens up to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), brings a procedural element to the story. Among Black cinema’s most acclaimed actresses, she gives a commanding performance with Payne, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove everything Rita has in her life and then intervene. He murders her housemate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.
As the plot progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a final section packed with seduction, as life and eternal punishment hang in the balance. The movie ends with a stinger hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of African American scary movies, an underappreciated but influential film characterized by its bold style and memorable acting.
