Ryan Coogler's latest project may have revitalized the idea of African American undead, but the roots of this subgenre date back to the 1970s cultural movement. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, the actor's character is turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the part 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 protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, frightening, and thought-provoking all at once, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.
Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you want a dash of humor with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But instead of journeying from Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the continuation of his vampire lineage with an offspring of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod 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 — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Artistic Goals
Recently after his final entry in the iconic horror series, Craven was eager to move beyond his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and genuine scares). Meanwhile, Murphy aimed to subvert expectations by venturing into a pure scary movie rooted in vampire mythology. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its assets — 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), brings a procedural element to the narrative. One of Black cinema’s most praised performers, she delivers a powerful performance with Payne, a well-known actor from the era. In the meantime, the lead spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her faith.
As the plot progresses, it becomes increasingly Gothic, including metamorphoses and discoveries of heritage. This results in a final section filled with seduction, as life and eternal punishment are at stake. The movie concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film flashes glimpses of genius that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the canon of Black horror, an underappreciated but impactful film defined by its bold style and memorable acting.
