Ryan Coogler's recent work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the Blaxploitation era. 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 burdened with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a proud African prince.
Years afterward, the comedic star seemed to take inspiration from Marshall, enriching his own protagonist's lore in the director's take on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn demonstrates that tales of African American undead can be humorous, terrifying, and thought-provoking simultaneously, securing its position in the hall of fame by juggling all three while respecting the heritage of the category.
Released three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an must-see if you need a little comedy with your scares this Halloween.
An Urban Vampire Story
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 Zamunda to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his tribe.
Maximillian arrives in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, run into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music kicks in, establishing the tone for a film that handily balances scares and laughs.
Creative Visions
Recently after his final entry in the iconic horror series, the director was eager to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and genuine scares). At the same time, the star aimed to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those creative goals accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie clicks into high gear, it opens up 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 (Allen Payne), brings a procedural element to the story. One of Black cinema’s most acclaimed actresses, she delivers a commanding acting alongside Payne, a well-known actor from the time. In the meantime, Murphy 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 skin decays during the movie is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film hits its stride — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away all Rita has in her life and then intervene. He kills her roommate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.
As the story progresses, it becomes increasingly Gothic, featuring metamorphoses and revelations of origins. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The film ends with a stinger hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a moderate financial success and got largely critical reception upon debut. Over time, it found new life as a cult favorite, with critics later applauding the filmmaker's work, the electric chemistry the leads, and its clever mix of frights and fun. The movie flashes moments of brilliance that could have been more prominent had everyone involved been aligned 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 influential entry characterized by its daring approach and unforgettable performances.
