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Ryan Coogler's recent project may have breathed new life into the concept of Black vampires, but the roots of this cinematic category trace back to the 1970s cultural movement. One of the most iconic pioneering films was the 1972 classic Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a stereotype, Marshall elevated the part into something regal, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy seemed to take inspiration from Marshall, 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 descendant of Dracula whose forebears escaped 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, terrifying, and thought-provoking simultaneously, earning its place in the canon by balancing all three while honoring the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an must-see if you need a dash of humor with your frights this Halloween.

A Tale of Two Cities

Like the royal character in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But rather than traveling from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the continuation of his vampire lineage with an offspring of his tribe.

The character makes his entrance in New York aboard a phantom vessel whose crew has been inexplicably killed, a homage to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then observes a dark creature jump from the ship, dart into an alley, and morph into a human — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Funky Blaxploitation-style music starts, setting the mood for a film that expertly mixes scares and laughs.

Artistic Goals

Fresh off his last installment in the Nightmare on Elm Street series, Craven was eager to break from his horror reputation and make a more blended comedy (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, Murphy wanted to defy assumptions by diving into a pure scary movie based on Dracula lore. The conflict of those artistic aims accounts for the story's detailed beginning of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds to its assets — like its eclectic cast.

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 crime-drama edge to the narrative. One of Black cinema’s most praised performers, she delivers a powerful acting alongside Payne, a familiar face from the time. In the meantime, the lead spends most of his screen time with his comedic partner, creating a uproarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a standout moment of how the star's comedic style elevates the comedy and horror, even when employed by other actors).

Supernatural Romance

When the two leads meet and Murphy and Bassett finally share the screen, the movie reaches its peak — the tension heightens, the scares intensify, and their darkly seductive chemistry becomes the focus. Max’s plan is to take away everything Rita has in her life and then intervene. He kills her housemate, creates conflict between her and her partner, and even uses Nutty Professor-esque prosthetics to disguise himself as a preacher and undermine her beliefs.

As the story unfolds, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a third act packed with temptation, as mortality and damnation are at stake. The movie concludes with a stinger suggesting a possible follow-up, one that might have materialized had the movie performed better. Vampire in Brooklyn earned a modest box office return and received mostly negative reviews upon debut. As years passed, it gained popularity as a beloved classic, with critics later applauding the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of horror and comedy. The movie flashes moments of brilliance that could have been more prominent had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but impactful film defined by its daring approach and unforgettable performances.