Ryan Coogler's latest work may have revitalized 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 film, the actor's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Initially conceived as a caricature, the performer elevated the part into something majestic, providing his character an historical origin as Mamuwalde, a proud African prince.
Years afterward, Eddie Murphy 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. 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 tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a little comedy with your frights this spooky season.
A Tale of Two Cities
Similar to the royal character in Coming to America (the actor's 1988 masterpiece), Maximillian is pulled to the Big Apple. But rather than traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an offspring of his tribe.
The character makes his entrance in New York on a phantom vessel whose crew has been mysteriously slaughtered, a homage to Nosferatu. The vessel is discovered by harbor official Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a dark creature leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a movie that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, Murphy wanted to defy assumptions by diving into a pure scary movie rooted in Dracula lore. The clash of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (the actor), brings a procedural element to the story. One of African American film's most acclaimed actresses, Bassett gives a powerful acting alongside her co-star, a familiar face from the era. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a hilarious 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 highlight of how the star's comedic style enhances the comedy and horror, even when employed by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett appear together, 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 intervene. He murders her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and weaken her faith.
As the plot progresses, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a final section packed with seduction, as mortality and damnation hang in the balance. The film concludes with a teaser hinting at a potential sequel, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with critics later applauding the filmmaker's work, the spark between the leads, and its sharp blend of frights and fun. The movie flashes moments of brilliance that could have been more prominent had everyone involved 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 history of African American scary movies, an underappreciated but influential film characterized by its bold style and unforgettable performances.
