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Ryan Coogler's latest project may have revitalized the concept of African American undead, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, William Marshall's character is bitten by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, the performer transformed the role into something majestic, providing his figure an historical origin 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 the director's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose ancestors escaped to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that tales of African American undead can be funny, frightening, and intellectually stimulating simultaneously, earning its position in the canon by balancing all three while respecting the heritage of the category.

Debuted three decades back on October 27th, 1995, Vampire in Brooklyn is currently streaming on Tubi, making it an must-see if you need a dash of humor with your frights this Halloween.

An Urban Vampire Story

Similar to Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is drawn to the Big Apple. But instead of journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, seeking to find and secure the survival of his undead bloodline with an heir of his tribe.

The character makes his entrance in New York aboard a ghost ship whose sailors has been inexplicably killed, a homage to Nosferatu. The ship is found by harbor official Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a dark creature leap from the ship, run into an alley, and morph 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 film that expertly mixes scares and laughs.

Creative Visions

Fresh off his final entry in the iconic horror series, Craven was keen to break from his horror reputation and make a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which mined scary conventions for both comedy and real fear). At the same time, the star wanted to subvert expectations by diving into a pure scary movie based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once the movie clicks into high gear, it unfolds to its assets — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (the actor), brings a procedural element to the narrative. One of African American film's most acclaimed actresses, she gives a powerful acting with Payne, a well-known actor from the era. In the meantime, Murphy spends the majority of the film with his comedic partner, forming a hilarious classic comedy pair as the actor's Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his macabre part as his skin decays during the movie is a standout moment of how the star's comedic style enhances the humor and fear, even when employed by other actors).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars finally share the screen, the movie reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and weaken her faith.

As the story unfolds, it becomes increasingly Gothic, including transformations and discoveries of heritage. This leads to a final section packed with temptation, as life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn made a modest box office return and received largely critical reception upon debut. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The film shows glimpses of genius that could have been more prominent had everyone involved been aligned on a cohesive approach, rather than delivering the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential film defined by its daring approach and unforgettable performances.