Ryan Coogler's recent project may have breathed new life into the concept of Black vampires, but the roots of this subgenre trace back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's role is bitten by Dracula and burdened with the insulting name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.
Years afterward, the comedic star appeared to draw a cue from his predecessor, deepening his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be humorous, frightening, and intellectually stimulating simultaneously, earning its place in the hall of fame by balancing all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your frights this Halloween.
An Urban Vampire Story
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to New York City. But instead of journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.
The character makes his entrance in New York on a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then witnesses a black wolf leap from the ship, run into an alley, and transform into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the tone for a movie that handily balances horror and humor.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was eager to break from his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). Meanwhile, Murphy wanted to subvert expectations by venturing into a straight horror based on vampire mythology. The clash 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 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. One of Black cinema’s most acclaimed performers, she delivers a powerful acting alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time 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 macabre part 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).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and undermine her beliefs.
As the plot unfolds, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The movie concludes with a teaser suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. As years passed, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but influential entry defined by its bold style and memorable acting.
