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Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. One of the most memorable early examples was the seminal 1972 movie Blacula. In that film, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Originally written as a caricature, Marshall transformed the role into something majestic, giving his character an historical origin as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take a cue from Marshall, enriching his own character's mythology in Wes Craven's interpretation on the African American horror niche: Vampire in Brooklyn. Murphy's Maximillian is a heir of Dracula whose ancestors fled to Egypt, and later to the Bermuda Triangle, after being persecuted to the brink of extinction. Vampire in Brooklyn demonstrates that tales of African American undead can be funny, terrifying, and intellectually stimulating all at once, securing its place in the hall of fame by juggling all three while honoring the heritage of the category.

Debuted 30 years ago on Oct. 27, 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 Halloween.

From Zamunda to Brooklyn

Like Prince Akeem in Coming to America (the actor's classic from 1988), the vampire lead is drawn to the Big Apple. But rather than journeying from Zamunda to Queens, he emerges from the mysterious region into Brooklyn, aiming to find and secure the survival of his vampire lineage with an offspring of his clan.

Maximillian arrives in New York on a phantom vessel whose sailors has been inexplicably killed, a nod to Nosferatu. The vessel is discovered by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (the actor), two of the film's funniest characters. Silas then witnesses a dark creature leap from the ship, dart into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the longer Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that handily balances scares and laughs.

Directorial Ambitions

Recently after his last installment in the Nightmare on Elm Street series, the director was keen to break from his scary movie image and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which exploited scary conventions for both comedy and real fear). Meanwhile, the star wanted to defy assumptions by venturing into a straight horror based on Dracula lore. The conflict of those creative goals explains the film's exposition-heavy opening of Max's origins and its somewhat slow commencement. But once the film hits its stride, it opens up to its strengths — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays detective Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (the actor), adds a crime-drama edge to the story. One of African American film's most praised performers, Bassett gives a commanding acting alongside Payne, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with Kadeem Hardison, creating 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 humor and fear, even when utilized by the cast).

Supernatural Romance

When the two leads meet and Murphy and Bassett appear together, the movie hits its stride — the tension heightens, the scares intensify, and their sinister attraction becomes the focus. Max’s plan is to remove everything Rita has in her life and then swoop in. He murders her roommate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque prosthetics to masquerade as a preacher and undermine her faith.

As the story progresses, it becomes more darkly romantic, featuring metamorphoses and discoveries of heritage. This leads to a third act packed with temptation, as mortality and damnation are at stake. The movie concludes with a teaser hinting at a possible follow-up, one that might have materialized had the film been more successful. Vampire in Brooklyn earned a moderate financial success and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the electric chemistry Murphy and Bassett, and its sharp blend of frights and fun. The movie shows glimpses of genius that might have shone brighter had all participants been in agreement on a unified vision, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has rightfully earned its spot in the canon of Black horror, an underappreciated but impactful film characterized by its bold style and memorable acting.