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Ryan Coogler's latest project may have revitalized the concept of Black vampires, but the origins of this subgenre date back to the 1970s cultural movement. One of the most iconic early examples was the seminal 1972 movie Blacula. In that film, William Marshall's role is turned by Dracula and cursed with the insulting name “Blacula.” Originally written as a stereotype, Marshall transformed the role into something majestic, providing his character an historical origin as Mamuwalde, a noble royal from Africa.

Years afterward, the comedic star seemed to take a cue from his predecessor, enriching his own character's mythology in Wes Craven's take on the Black vampire subgenre: Vampire in Brooklyn. The protagonist Maximillian is a descendant of Dracula whose forebears escaped 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 humorous, frightening, and intellectually stimulating simultaneously, securing its position in the canon by balancing all three while respecting 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 dash of humor with your scares this spooky season.

An Urban Vampire Story

Similar to Prince Akeem in Coming to America (the actor's classic from 1988), Maximillian is pulled to the Big Apple. But rather than journeying from Zamunda to Queens, he arrives from the Bermuda Triangle into Brooklyn, seeking to locate and ensure the survival of his undead bloodline with an offspring of his tribe.

The character makes his entrance in New York on a phantom vessel whose sailors has been inexplicably killed, a homage to Nosferatu. The vessel is discovered 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 witnesses a dark creature leap from the ship, run into an alley, and transform into a man — reminiscent of Michael Jackson's Panther Dance from the extended Black or White video. Groovy Blaxploitation-style music kicks in, setting the mood for a movie that handily balances horror and humor.

Creative Visions

Fresh off his final entry in the iconic horror series, the director was eager to move beyond his horror reputation and create a more hybrid genre film (his subsequent project after Vampire in Brooklyn was Scream, which mined horror tropes for both comedy and real fear). Meanwhile, the star aimed to subvert expectations by venturing into a pure scary movie rooted in Dracula lore. The conflict of those creative goals accounts for the film's exposition-heavy opening of Max's origins and its generally sluggish start. But when the movie hits its stride, it unfolds to its strengths — like its diverse ensemble.

The acclaimed actress, as the object of Maximillian’s affection, plays detective Rita Veder, whose dynamic with her colleague and romantic lead, detective Justice (Allen Payne), adds a crime-drama edge to the story. One of Black cinema’s most acclaimed performers, Bassett delivers a powerful performance with her co-star, a well-known actor from the era. In the meantime, Murphy spends most of his screen time with his comedic partner, creating a hilarious classic comedy pair as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his ghoulish role as his skin decays throughout the film is a highlight of how Murphy’s usual bag of tricks enhances the humor and fear, even when employed by the cast).

Gothic Intrigue

When Max and Rita’s paths intertwine and the stars finally share the screen, the film hits its stride — the suspense builds, the scares intensify, and their darkly seductive chemistry takes center stage. Max’s plan is to take away all Rita has in her life and then swoop in. He kills her housemate, creates conflict in between her and her love interest, and even uses Nutty Professor-esque prosthetics to masquerade as a clergyman and weaken her faith.

As the plot unfolds, it becomes more darkly romantic, including transformations and discoveries of heritage. This results in a final section filled with seduction, as mortality and damnation hang in the balance. The film ends with a stinger suggesting a possible follow-up, one that could have happened had the film performed better. Vampire in Brooklyn made a modest box office return and got largely critical reception upon debut. As years passed, it gained popularity as a beloved classic, with reviewers later applauding the filmmaker's work, the spark between the leads, and its clever mix of horror and comedy. The film shows moments of brilliance that might have shone brighter had all participants been in agreement on a cohesive approach, rather than producing the tonal hodgepodge audiences received. Still, Vampire in Brooklyn has deservedly secured its spot in the canon of African American scary movies, an overlooked but influential entry characterized by its daring approach and memorable acting.