Ryan Coogler's recent project may have breathed new life into the concept of Black vampires, but the origins 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, William Marshall's role is turned by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer elevated the role into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be funny, frightening, and intellectually stimulating all at once, earning its place in the canon by juggling all three while respecting the heritage of the category.
Debuted three decades back on Oct. 27, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a dash of humor with your frights this spooky season.
An Urban Vampire Story
Similar to Prince Akeem in Coming to America (Murphy's classic from 1988), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then witnesses a dark creature leap from the ship, run into an alley, and transform into a human — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the tone for a movie that handily balances horror and humor.
Creative Visions
Fresh off his last installment in the iconic horror series, the director was keen to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). Meanwhile, Murphy aimed to subvert expectations by diving into a straight horror rooted in Dracula lore. The clash of those creative goals accounts for the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.
The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. One of African American film's most praised actresses, she gives a powerful performance alongside her co-star, a well-known actor from the era. Meanwhile, Murphy spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when employed by the cast).
Gothic Intrigue
When the two leads meet and the stars finally share the screen, the film hits its stride — the suspense builds, the fear escalates, and their darkly seductive chemistry becomes the focus. The vampire's scheme is to take away all 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 prosthetics to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This results in a final section packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it found new life as a beloved classic, with critics later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film shows moments of brilliance that might have shone brighter had everyone involved been aligned on a cohesive approach, rather than delivering the mixed-genre result audiences received. Nevertheless, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an underappreciated but influential film characterized by its daring approach and unforgettable performances.
