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Ryan Coogler's latest work may have breathed new life into the concept of Black vampires, but the roots of this cinematic category date 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 role is bitten by Dracula and cursed with the insulting name “Blacula.” Originally written as a caricature, Marshall elevated the role into something majestic, providing his character an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, the comedic star seemed to take a cue from Marshall, deepening his own character's mythology in the director's take on the Black vampire subgenre: Vampire in Brooklyn. Murphy's Maximillian is a descendant 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 funny, frightening, and intellectually stimulating simultaneously, securing its place in the canon by balancing all three while honoring the heritage of the category.

Released 30 years ago on Oct. 27, 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.

An Urban Vampire Story

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), the vampire lead is drawn to the Big Apple. But rather than journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, aiming to locate and ensure the continuation of his undead bloodline with an heir of his tribe.

Maximillian arrives in New York aboard a ghost ship whose crew has been inexplicably killed, a nod to Nosferatu. The ship is found by ship inspector Silas Green (John Witherspoon) and his relative Julius Jones (Kadeem Hardison), two of the film's funniest characters. Silas then observes a black wolf leap from the ship, dart into an alley, and transform into a human — like the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack kicks in, setting the mood for a film that handily balances horror and humor.

Creative Visions

Fresh off his last installment in the iconic horror series, the director was eager to move beyond his scary movie image and create a more blended comedy (his next film after Vampire in Brooklyn was Scream, which exploited horror tropes for both comedy and real fear). At the same time, Murphy aimed to subvert expectations by venturing into a pure scary movie based on vampire mythology. The conflict of those artistic aims accounts for the story's detailed beginning of the protagonist's backstory and its generally sluggish start. But once the film hits its stride, it opens up to its assets — like its eclectic cast.

The acclaimed actress, as the vampire's love interest, plays police officer Rita Veder, whose relationship with her colleague and romantic lead, detective Justice (Allen Payne), brings a crime-drama edge to the story. Among Black cinema’s most praised performers, she delivers a powerful performance alongside Payne, a familiar face from the time. In the meantime, Murphy spends the majority of the film with Kadeem Hardison, creating a hilarious classic comedy pair as Hardison’s Julius Jones becomes Max’s undead lackey. (Seeing Julius sink deeper and deeper into his ghoulish role as his appearance deteriorates during the movie is a highlight of how Murphy’s usual bag of tricks enhances the comedy and horror, even when utilized by other actors).

Dark Seduction

When the two leads meet and Murphy and Bassett finally share the screen, the film hits its stride — the tension heightens, the fear escalates, and their sinister attraction takes center stage. The vampire's scheme is to take away everything Rita has in her life and then swoop in. He murders her housemate, drives a wedge in between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a preacher and weaken her faith.

As the plot progresses, it becomes more darkly romantic, including metamorphoses and revelations of origins. This results in a third act filled with seduction, as mortality and damnation are at stake. The film ends with a stinger suggesting a potential sequel, one that could have happened had the movie performed better. 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 praising the filmmaker's work, the spark between Murphy and Bassett, and its sharp blend of frights and fun. The movie flashes glimpses of genius that could have been more prominent had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge viewers saw. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of Black horror, an underappreciated but influential entry defined by its bold style and memorable acting.