Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the origins of this subgenre date back to the 1970s cultural movement. Among the most memorable early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, Marshall transformed the role into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own character's mythology in the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and intellectually stimulating all at once, earning its position in the hall of fame by balancing all three while honoring the heritage of the category.
Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his undead bloodline with an heir of his clan.
The character makes his entrance in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature jump from the ship, run into an alley, and morph into a human — reminiscent of the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a film that handily balances scares and laughs.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, the director was eager to break from his horror reputation and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and genuine scares). At the same time, the star aimed to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the movie clicks into high gear, it opens up to its assets — like its diverse ensemble.
Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), brings a procedural element to the narrative. Among African American film's most praised actresses, Bassett gives a commanding acting alongside Payne, a familiar face from the era. Meanwhile, 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 skin decays during the movie is a standout moment of how the star's comedic style enhances the comedy and horror, even when employed by the cast).
Supernatural Romance
When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a third act filled with temptation, as life and eternal punishment are at stake. The movie ends with a stinger suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between 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 unified vision, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but influential entry defined by its bold style and memorable acting.
