Ryan Coogler's latest project may have revitalized the concept of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is turned by Dracula and burdened with the insulting name “Blacula.” Originally written as a caricature, the performer elevated the role into something majestic, providing his figure an historical origin as Mamuwalde, a proud African prince.
Years afterward, the comedic star appeared to draw a cue from his predecessor, 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 escaped to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that Black vampire stories can be funny, terrifying, and intellectually stimulating simultaneously, securing its position in the canon by balancing all three while honoring the subgenre's legacy.
Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is now available on Tubi, making it an essential watch if you want a little comedy with your scares this Halloween.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), Maximillian is drawn to New York City. But instead of journeying from a fictional kingdom 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 on a ghost ship whose crew has been mysteriously slaughtered, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then witnesses a black wolf jump from the ship, dart into an alley, and morph into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances scares and laughs.
Artistic Goals
Fresh off his last installment in the iconic horror series, Craven was eager to move beyond his horror reputation and make a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both laughs and real fear). Meanwhile, the star wanted to defy assumptions by venturing into a pure scary movie based on vampire mythology. 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 film hits its stride, it opens up to its assets — like its eclectic cast.
Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her partner and love interest, detective Justice (the actor), adds a procedural element to the narrative. Among African American film's most praised performers, Bassett delivers a powerful performance with Payne, a familiar face from the time. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by other actors).
Supernatural Romance
When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then intervene. He murders her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a clergyman and undermine her beliefs.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This leads to a third act filled with seduction, as mortality and damnation hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn made a moderate financial success and got mostly negative reviews upon debut. As years passed, it found new life as a cult favorite, with reviewers later applauding the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie shows moments of brilliance that could have been more prominent had all participants been in agreement on a cohesive approach, 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 influential entry characterized by its daring approach and unforgettable performances.
