Ryan Coogler's latest work may have breathed new life into the idea of Black vampires, but the roots of this subgenre date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the insulting name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star seemed to take a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating simultaneously, securing its position in the hall of fame by juggling all three while honoring the heritage of the category.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you want a dash of humor with your scares this spooky season.
A Tale of Two Cities
Like Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his clan.
Maximillian arrives in New York aboard a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is found by ship inspector Silas Green (the comedian) and his nephew Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then witnesses a dark creature jump from the ship, run into an alley, and transform into a human — reminiscent of the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, setting the tone for a movie that expertly mixes scares and laughs.
Directorial Ambitions
Recently after his final entry in the Nightmare on Elm Street series, Craven 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 scary conventions for both laughs and genuine scares). Meanwhile, Murphy wanted to subvert expectations by diving into a pure scary movie rooted in vampire mythology. The conflict of those creative goals accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it opens up to its strengths — like its diverse ensemble.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. Among Black cinema’s most acclaimed actresses, Bassett gives a commanding performance with her co-star, a well-known actor from the time. Meanwhile, the lead spends most of his screen time with Kadeem Hardison, creating a uproarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Watching Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).
Dark Seduction
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the movie hits its stride — the suspense builds, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her housemate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.
As the story progresses, it becomes more darkly romantic, including transformations and revelations of origins. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser suggesting a possible follow-up, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and got mostly negative reviews upon release. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The film 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. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but impactful film defined by its daring approach and unforgettable performances.
