Ryan Coogler's latest work may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the 1970s cultural movement. Among the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, the actor's character is turned 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 18th-century backstory as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration 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 heir of Dracula whose ancestors fled 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, frightening, and thought-provoking simultaneously, securing its position in the canon by balancing all three while honoring the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a black wolf jump from the ship, run into an alley, and morph into a man — like Michael Jackson's Panther Dance from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a film that handily balances scares and laughs.
Directorial Ambitions
Fresh off his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both laughs and real fear). Meanwhile, Murphy wanted to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But when the film 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 dynamic with her colleague and romantic lead, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most acclaimed actresses, Bassett gives a commanding performance with Payne, a familiar face from the era. Meanwhile, the lead spends the majority of the film with Kadeem Hardison, forming a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a highlight of how the star's comedic style elevates the humor and fear, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her faith.
As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a final section packed with temptation, as life and eternal punishment hang in the balance. The movie ends with a teaser suggesting a possible follow-up, one that could have happened had the movie been more successful. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later praising the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than delivering the mixed-genre result viewers saw. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an overlooked but impactful film characterized by its daring approach and unforgettable performances.
