Ryan Coogler's latest project may have breathed new life into the concept of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the part into something regal, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from his predecessor, enriching his own character's mythology 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 edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, terrifying, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while honoring the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you need a dash of humor with your frights this Halloween.
From Zamunda to Brooklyn
Like Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an heir of his tribe.
The character makes his entrance in New York aboard a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a movie that expertly mixes scares and laughs.
Artistic Goals
Recently after his last installment in the iconic horror series, the director was eager to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, the star wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But when the film hits its stride, it unfolds to its strengths — 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), adds a procedural element to the narrative. Among African American film's most praised actresses, she gives a commanding performance with her co-star, a well-known actor from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, creating a hilarious 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 during the movie is a highlight of how the star's comedic style elevates the comedy and horror, even when employed by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars finally share the screen, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry becomes the focus. Max’s plan is to remove everything Rita has in her life and then intervene. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and weaken her faith.
As the story unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This results in a final section filled with seduction, as mortality and damnation are at stake. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon release. As years passed, it found new life as a cult favorite, with reviewers later praising the filmmaker's work, the electric chemistry the leads, and its sharp blend of frights and fun. The movie shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an overlooked but influential film characterized by its daring approach and memorable acting.
