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Ryan Coogler's recent work may have breathed new life into the idea of African American undead, but the origins of this cinematic category trace back to the 1970s cultural movement. Among the most memorable pioneering films was the seminal 1972 movie Blacula. In that motion picture, William Marshall's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, the performer transformed the role into something regal, giving his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, the comedic star seemed to take inspiration from his predecessor, deepening his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors 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 funny, terrifying, and thought-provoking all at once, earning its position in the canon by balancing all three while respecting the heritage of the category.

Released three decades back 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.

An Urban Vampire Story

Like the royal character in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than traveling from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his undead bloodline with an offspring of his clan.

The character makes his entrance in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. The inspector then observes a black wolf jump from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy 1970s-inspired soundtrack kicks in, setting the tone for a film that expertly mixes scares and laughs.

Creative Visions

Recently after his last installment in the iconic horror series, Craven was keen to move beyond his scary movie image and make 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 subvert expectations by diving into a straight horror based on vampire mythology. 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 film clicks into high gear, it unfolds to its assets — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), adds a procedural element to the story. One of Black cinema’s most acclaimed performers, she delivers a powerful performance alongside Payne, a familiar face from the time. In the meantime, the lead 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 descend further into his macabre part as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks elevates the humor and fear, even when employed by the cast).

Dark Seduction

When the two leads meet and Murphy and Bassett appear together, the film hits its stride — the suspense builds, the scares intensify, and their sinister attraction becomes the focus. The vampire's scheme is to take away everything Rita has in her life and then intervene. He kills her roommate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and undermine her faith.

As the plot progresses, it becomes increasingly Gothic, featuring transformations and revelations of origins. This leads to a third act filled with temptation, as mortality and damnation hang in the balance. The movie ends with a teaser hinting at a potential sequel, one that might have materialized had the movie been more successful. Vampire in Brooklyn made a moderate financial success and received largely critical reception upon debut. Over time, it found new life as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry the leads, and its clever mix of horror and comedy. The film shows glimpses of genius that might have shone brighter had everyone involved been aligned on a unified vision, rather than producing the mixed-genre result viewers saw. Nevertheless, Vampire in Brooklyn has rightfully earned its place in the history of Black horror, an overlooked but influential entry characterized by its daring approach and unforgettable performances.