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Ryan Coogler's latest project may have breathed new life into the idea of African American undead, but the origins of this cinematic category date back to the Blaxploitation era. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a stereotype, Marshall elevated the role into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, Eddie Murphy seemed to take a cue from Marshall, deepening his own character's mythology in Wes Craven's take on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir 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 Black vampire stories can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the canon by juggling all three while honoring the subgenre's legacy.

Debuted 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an essential watch if you want a dash of humor with your scares this Halloween.

An Urban Vampire Story

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to New York City. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an heir of his clan.

The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (the actor), 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 extended Black or White video. Funky Blaxploitation-style music kicks in, setting the mood for a movie that expertly mixes horror and humor.

Directorial Ambitions

Recently after his final entry 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 next film after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). Meanwhile, the star aimed to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those artistic aims explains the film's exposition-heavy opening of Max's origins and its generally sluggish start. But once the movie hits its stride, it opens up to its strengths — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. Among African American film's most acclaimed actresses, she gives a commanding acting with Payne, a well-known actor from the time. Meanwhile, Murphy spends most of his screen time with his comedic partner, forming a uproarious Abbott-and-Costello-style duo as Hardison’s Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates throughout the film is a standout moment 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 the stars appear together, the movie reaches its peak — the suspense builds, the scares intensify, and their sinister attraction takes center stage. The vampire's scheme is to remove all Rita has in her life and then intervene. He kills her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her beliefs.

As the plot unfolds, it becomes increasingly Gothic, featuring transformations and discoveries of heritage. This leads to a final section filled with seduction, as life and eternal punishment are at stake. The movie ends with a teaser hinting at a potential sequel, one that could have happened had the movie performed better. Vampire in Brooklyn earned a moderate financial success and got mostly negative reviews upon release. Over time, it gained popularity as a cult favorite, with reviewers later praising the filmmaker's work, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The film shows moments of brilliance that could have been more prominent had everyone involved been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the history of Black horror, an overlooked but impactful film characterized by its daring approach and memorable acting.