Ryan Coogler's recent project may have breathed new life into the idea of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that film, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something majestic, giving his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy appeared to draw inspiration from his predecessor, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, terrifying, and thought-provoking all at once, securing 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 currently streaming on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from Zamunda to Queens, he arrives from the mysterious region 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 crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. Silas then observes a black wolf jump from the ship, dart into an alley, and morph into a man — like the iconic routine from the longer Black or White video. Groovy Blaxploitation-style music starts, setting the tone for a movie that expertly mixes horror and humor.
Creative Visions
Fresh off his final entry in the Nightmare on Elm Street series, Craven was eager to move beyond his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and genuine scares). At the same time, Murphy wanted to subvert expectations by venturing into a straight horror based on vampire mythology. The conflict of those creative goals explains the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, 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 partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of African American film's most praised actresses, she gives a powerful acting with Payne, a well-known actor from the time. In the meantime, the lead spends the majority of the film with his comedic partner, creating a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to remove everything Rita has in her life and then swoop in. He kills her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a final section packed with temptation, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a modest box office return and received largely critical reception upon release. Over time, it gained popularity as a beloved classic, with critics later praising the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The movie shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful film characterized by its bold style and unforgettable performances.
