Ryan Coogler's recent project may have revitalized the idea of African American undead, but the roots of this subgenre 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 turned by Dracula and cursed with the demeaning name “Blacula.” Originally written as a stereotype, Marshall transformed the part into something regal, providing his figure an historical origin as Mamuwalde, a noble royal from Africa.
Decades later, the comedic star appeared to draw inspiration from Marshall, deepening his own character's mythology in the director's interpretation on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant 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, securing its place in the hall of fame 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 need a dash of humor with your frights this spooky season.
From Zamunda to Brooklyn
Similar to Prince Akeem in Coming to America (the actor's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But instead of journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, seeking to find and secure the survival of his vampire lineage with an heir of his clan.
The character makes his entrance in New York aboard a ghost ship whose crew has been mysteriously slaughtered, a homage to Nosferatu. The ship is found by ship inspector Silas Green (the comedian) and his relative Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. The inspector then observes a black wolf leap from the ship, dart into an alley, and morph into a human — reminiscent of the iconic routine from the extended Black or White video. Funky 1970s-inspired soundtrack kicks in, establishing the tone for a film that expertly mixes scares and laughs.
Creative Visions
Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). At the same time, the star aimed to subvert expectations by diving into a pure scary movie based on vampire mythology. The clash of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But once 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 detective Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), brings a procedural element to the story. One of Black cinema’s most acclaimed performers, Bassett delivers a powerful acting with her co-star, a well-known actor from the era. In the meantime, the lead spends most of his screen time with his comedic partner, creating a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Watching Julius descend further into his macabre part as his appearance deteriorates throughout the film is a highlight of how the star's comedic style enhances the comedy and horror, even when utilized by the cast).
Dark Seduction
When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the suspense builds, the fear escalates, and their darkly seductive chemistry takes center stage. The vampire's scheme is to remove all Rita has in her life and then swoop in. He kills her roommate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her beliefs.
As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This results in a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a stinger hinting at a potential sequel, one that could have happened had the film been more successful. Vampire in Brooklyn made a moderate financial success and received mostly negative reviews upon debut. Over time, it found new life as a beloved classic, with critics later praising Craven’s direction, the spark between Murphy and Bassett, and its clever mix of horror and comedy. The movie shows glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the mixed-genre result audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the history of African American scary movies, an overlooked but influential entry characterized by its daring approach and unforgettable performances.
