Ryan Coogler's recent work may have revitalized the idea of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most iconic pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is bitten by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall transformed the part into something majestic, giving his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from Marshall, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn demonstrates that Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, earning its place in the canon by juggling all three while honoring the heritage of the category.
Debuted 30 years ago 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.
A Tale of Two Cities
Like 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 a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes 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 longer Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a film that expertly mixes horror and humor.
Creative Visions
Recently after his last installment in the iconic horror series, the director was keen to move beyond his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and genuine scares). At the same time, Murphy 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 the protagonist's backstory and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of Black cinema’s most praised performers, she delivers a commanding performance alongside her co-star, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper 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 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 reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her faith.
As the plot unfolds, it becomes more darkly romantic, including transformations and revelations of origins. 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 potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and received largely critical reception upon release. Over time, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes moments of brilliance that might have shone brighter had everyone involved been in agreement on a unified vision, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an underappreciated but influential film defined by its bold style and unforgettable performances.
