Ryan Coogler's latest project may have revitalized the idea of Black vampires, but the roots of this cinematic category date back to the Blaxploitation era. One of the most memorable pioneering films was the 1972 classic Blacula. In that film, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the part into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw inspiration from Marshall, deepening his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, securing its place in the canon by juggling all three while respecting the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy 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 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.
The character makes his entrance in New York on a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature jump from the ship, run into an alley, and morph into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances horror and humor.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, the star wanted to subvert expectations by venturing into a straight horror rooted in Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. 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 detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among African American film's most praised actresses, Bassett delivers a commanding acting alongside Payne, a familiar face from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the tension heightens, the scares intensify, 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 housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the story progresses, it becomes increasingly Gothic, including transformations and revelations of origins. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it gained popularity as a cult favorite, with critics later applauding Craven’s direction, the electric chemistry the leads, and its sharp blend of frights and fun. The film shows glimpses of genius 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 spot in the canon of Black horror, an underappreciated but influential entry defined by its daring approach and memorable acting.
