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Ryan Coogler's recent project may have revitalized the idea of African American undead, but the origins of this subgenre trace back to the 1970s cultural movement. One of the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's character is bitten by Dracula and cursed with the insulting name “Blacula.” Initially conceived as a caricature, the performer elevated the role into something regal, giving his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take a cue from his predecessor, deepening his own protagonist's lore in the director's interpretation on the Black vampire subgenre: 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 proves that tales of African American undead can be humorous, terrifying, and thought-provoking all at once, securing its place in the hall of fame by juggling all three while honoring the heritage of the category.

Released 30 years ago on October 27th, 1995, Vampire in Brooklyn is now available on a popular platform, making it an essential watch if you need a little comedy with your scares this spooky season.

A Tale of Two Cities

Like the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But rather than journeying from a fictional kingdom to Queens, he emerges from the Bermuda Triangle into Brooklyn, aiming to find and secure the continuation of his vampire lineage with an offspring of his clan.

Maximillian arrives in New York aboard a ghost ship whose sailors has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (Kadeem Hardison), two of the most humorous personalities in the movie. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a man — like Michael Jackson's Panther Dance from the extended Black or White video. Funky Blaxploitation-style music starts, establishing the mood for a film that expertly mixes horror and humor.

Directorial Ambitions

Fresh off his last installment in the iconic horror series, Craven was keen to move beyond his horror reputation and make a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). Meanwhile, Murphy wanted to defy assumptions by diving into a straight horror based on vampire mythology. The clash of those creative goals explains the story's detailed beginning of Max's origins and its somewhat slow commencement. But once the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.

Angela Bassett, as the vampire's love interest, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. Among African American film's most acclaimed performers, she gives a commanding performance with her co-star, a well-known actor from the era. In the meantime, the lead spends the majority of the film with Kadeem Hardison, creating a uproarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes Max’s undead lackey. (Watching Julius sink deeper and deeper into his ghoulish role as his skin decays 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).

Supernatural Romance

When the two leads meet and Murphy and Bassett appear together, the film reaches its peak — the tension heightens, the scares intensify, and their sinister attraction takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her roommate, drives a wedge in between her and her love interest, and even uses Nutty Professor-esque make-up effects to masquerade as a clergyman and undermine her beliefs.

As the plot unfolds, it becomes more darkly romantic, featuring transformations and revelations of origins. This leads to a final section filled with seduction, as mortality and damnation hang in the balance. The movie 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 moderate financial success and received largely critical reception upon debut. As years passed, it found new life as a beloved classic, with reviewers later praising the filmmaker's work, the spark between the leads, and its clever mix of frights and fun. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a cohesive approach, rather than delivering 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 bold style and memorable acting.