Ryan Coogler's latest project may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the role into something regal, providing his figure an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from his predecessor, deepening his own protagonist's lore in the director's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears fled 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 humorous, terrifying, and thought-provoking simultaneously, securing its place in the hall of fame by juggling all three while honoring the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a little comedy with your frights this spooky season.
An Urban Vampire Story
Similar to the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he emerges from the mysterious region into Brooklyn, seeking to locate and ensure the continuation of his vampire lineage with an offspring 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 ship is found 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 witnesses a black wolf jump from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music starts, setting the mood for a movie that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the Nightmare on Elm Street series, Craven was eager to break from his scary movie image and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and real fear). Meanwhile, the star aimed to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the narrative. One of African American film's most praised performers, Bassett gives a commanding acting with her co-star, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious 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 appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Supernatural Romance
When the two leads meet and the stars appear together, the film reaches its peak — the tension heightens, the fear escalates, and their sinister attraction becomes the focus. The vampire's scheme is to take away all Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a preacher and undermine her faith.
As the story unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This results in a third act packed with temptation, as mortality and damnation hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon debut. Over time, 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 film flashes glimpses of genius that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an overlooked but impactful film defined by its bold style and unforgettable performances.
