Ryan Coogler's latest work may have revitalized 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 1972 classic Blacula. In that film, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, giving his character an historical origin as Mamuwalde, a proud African prince.
Decades later, the comedic star seemed to take inspiration from Marshall, deepening his own protagonist's lore in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose forebears escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the brink of extinction. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and intellectually stimulating all at once, earning its place in the canon by balancing all three while respecting the subgenre's legacy.
Debuted 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you want a little comedy with your scares this spooky season.
From Zamunda to Brooklyn
Like the royal character in Coming to America (Murphy's classic from 1988), Maximillian is drawn to the Big Apple. But instead of traveling from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the survival of his vampire lineage with an offspring of his tribe.
Maximillian arrives in New York on a ghost ship whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a man — like the iconic routine from the longer Black or White video. Groovy 1970s-inspired soundtrack starts, setting the mood for a movie that expertly mixes horror and humor.
Creative Visions
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 hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both laughs and real fear). At the same time, Murphy wanted to subvert expectations by diving into a straight horror based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its somewhat slow commencement. But once the film hits its stride, it unfolds to its assets — like its eclectic cast.
The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the narrative. Among African American film's most praised actresses, she delivers a commanding acting with her co-star, a well-known actor from the era. Meanwhile, Murphy spends most of his screen time with Kadeem Hardison, forming a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his skin decays during the movie is a standout moment of how Murphy’s usual bag of tricks enhances the humor and fear, even when utilized by other actors).
Gothic Intrigue
When Max and Rita’s paths intertwine and Murphy and Bassett finally share the screen, the film hits its stride — the suspense builds, the fear escalates, 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 murders her roommate, drives a wedge between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.
As the story unfolds, it becomes more darkly romantic, including transformations and revelations of origins. This results in a third act packed with seduction, as life and eternal punishment are at stake. The film concludes with a stinger suggesting a possible follow-up, one that could have happened had the movie performed better. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a cult favorite, with reviewers later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of frights and fun. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a unified vision, rather than delivering the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an overlooked but impactful entry defined by its bold style and memorable acting.
