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Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the origins of this cinematic category trace back to the Blaxploitation era. Among the most memorable early examples was the seminal 1972 movie Blacula. In that motion picture, William Marshall's character is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a stereotype, Marshall elevated the part into something regal, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Years afterward, Eddie Murphy appeared to draw inspiration from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. The protagonist Maximillian is a heir of Dracula whose forebears fled to Egypt, and later to the Bermuda Triangle, after being hunted to the edge of annihilation. Vampire in Brooklyn proves that Black vampire stories can be humorous, frightening, and thought-provoking simultaneously, securing its position in the hall of fame by balancing all three while respecting the heritage of the category.

Released 30 years ago on Oct. 27, 1995, Vampire in Brooklyn is now available on a popular platform, making it an must-see if you need a little comedy with your frights this Halloween.

An Urban Vampire Story

Similar to the royal character in Coming to America (Murphy's classic from 1988), the vampire lead is drawn to New York City. But instead of traveling from a fictional kingdom to Queens, he arrives from the Bermuda Triangle into Brooklyn, aiming to locate and ensure the survival of his undead bloodline with an heir of his clan.

Maximillian arrives in New York aboard a phantom vessel whose sailors has been mysteriously slaughtered, a nod to Nosferatu. The ship is found by harbor official Silas Green (the comedian) and his relative Julius Jones (the actor), two of the most humorous personalities in the movie. The inspector then observes a dark creature leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the extended Black or White video. Groovy 1970s-inspired soundtrack starts, establishing the mood for a movie that handily balances scares and laughs.

Creative Visions

Fresh off his final entry in the iconic horror series, Craven was keen to break from his scary movie image and create a more blended comedy (his subsequent project after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and genuine scares). At the same time, the star wanted to defy assumptions by venturing into a straight horror based on vampire mythology. The conflict of those creative goals accounts for the film's exposition-heavy opening of the protagonist's backstory and its generally sluggish start. But when the film clicks into high gear, it unfolds to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose dynamic with her partner and love interest, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most acclaimed actresses, Bassett delivers a powerful acting alongside her co-star, a well-known actor from the time. In the meantime, the lead spends the majority of the film with Kadeem Hardison, forming a uproarious classic comedy pair as Hardison’s Julius Jones becomes the vampire's minion. (Watching Julius descend further into his ghoulish role as his appearance deteriorates throughout the film is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when employed by other actors).

Supernatural Romance

When Max and Rita’s paths intertwine and the stars appear together, the film reaches its peak — the tension heightens, the fear escalates, and their darkly seductive chemistry takes center stage. Max’s plan is to take away everything Rita has in her life and then intervene. He murders her housemate, creates conflict in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her beliefs.

As the plot progresses, it becomes more darkly romantic, featuring metamorphoses and revelations of origins. This leads to a third act filled with seduction, as life and eternal punishment hang in the balance. The film concludes with a teaser suggesting a potential sequel, one that might have materialized had the film performed better. Vampire in Brooklyn made a modest box office return and received mostly negative reviews upon debut. As years passed, it found new life as a beloved classic, with critics later praising the filmmaker's work, the spark between the leads, and its sharp blend of horror and comedy. The film shows glimpses of genius that might have shone brighter had all participants been aligned on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its place in the canon of African American scary movies, an underappreciated but influential film defined by its bold style and unforgettable performances.