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Ryan Coogler's recent project may have revitalized the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star appeared to draw a cue from his predecessor, 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 ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that tales of African American undead can be funny, terrifying, and intellectually stimulating simultaneously, earning its position in the hall of fame by balancing all three while respecting the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.

A Tale of Two Cities

Like the royal character in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than traveling from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his undead bloodline with an heir of his tribe.

The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The vessel 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 leap from the ship, dart into an alley, and morph into a man — like the iconic routine from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a film that expertly mixes horror and humor.

Artistic Goals

Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). At the same time, the star aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those artistic aims explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But when the film hits its stride, it opens up to its strengths — like its diverse ensemble.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a procedural element to the narrative. Among Black cinema’s most praised performers, she delivers a powerful acting with Payne, a familiar face from the era. In the meantime, Murphy spends the majority of the film with his comedic partner, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius descend further into his ghoulish role as his skin decays throughout the film is a standout moment of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).

Dark Seduction

When the two leads meet and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.

As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a final section packed with temptation, as life and eternal punishment hang in the balance. The film ends with a stinger hinting at a potential sequel, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with reviewers later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had everyone involved been in agreement on a cohesive approach, rather than delivering the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of African American scary movies, an underappreciated but influential film characterized by its daring approach and memorable acting.