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Ryan Coogler's latest work may have breathed new life into the concept of African American undead, but the origins of this subgenre date back to the Blaxploitation era. Among the most iconic early examples was the 1972 classic Blacula. In that motion picture, the actor's role is turned by Dracula and burdened with the demeaning name “Blacula.” Initially conceived as a caricature, the performer transformed the role into something majestic, providing his figure an 18th-century backstory as Mamuwalde, a noble royal from Africa.

Decades later, Eddie Murphy appeared to draw a cue from his predecessor, enriching his own protagonist's lore in Wes Craven's interpretation on the Black vampire subgenre: 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 demonstrates that tales of African American undead can be humorous, terrifying, and intellectually stimulating simultaneously, securing its place in the canon by juggling all three while honoring the subgenre's legacy.

Released three decades back on Oct. 27, 1995, Vampire in Brooklyn is currently streaming on a popular platform, making it an essential watch if you want a dash of humor with your frights this spooky season.

A Tale of Two Cities

Like Prince Akeem in Coming to America (Murphy's 1988 masterpiece), Maximillian is pulled to New York City. But instead of journeying from a fictional kingdom to Queens, he arrives from the mysterious region into Brooklyn, seeking to locate and ensure the survival of his vampire lineage 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 ship is discovered by ship inspector Silas Green (John Witherspoon) and his nephew Julius Jones (the actor), two of the film's funniest characters. The inspector then observes a dark creature leap from the ship, dart into an alley, and morph into a man — reminiscent of the iconic routine from the longer Black or White video. Funky 1970s-inspired soundtrack starts, establishing the tone for a movie that expertly mixes scares and laughs.

Creative Visions

Recently after his final entry in the iconic horror series, the director was keen to move beyond his horror reputation and create a more hybrid genre film (his next film after Vampire in Brooklyn was Scream, which mined scary conventions for both laughs and genuine scares). At the same time, the star aimed to subvert expectations by diving into a straight horror rooted in vampire mythology. The clash of those artistic aims 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 assets — like its eclectic cast.

Angela Bassett, as the object of Maximillian’s affection, plays police officer Rita Veder, whose relationship with her partner and love interest, detective Justice (Allen Payne), adds a crime-drama edge to the narrative. One of African American film's most praised actresses, she delivers a commanding performance with her co-star, a well-known actor from the time. In the meantime, the lead spends most of his screen time with his comedic partner, forming a hilarious Abbott-and-Costello-style duo as the actor's Julius Jones becomes the vampire's minion. (Seeing Julius sink deeper and deeper into his macabre part as his appearance deteriorates during the movie is a standout moment of how Murphy’s usual bag of tricks elevates the comedy and horror, even when utilized by the cast).

Dark Seduction

When Max and Rita’s paths intertwine and Murphy and Bassett appear together, the film hits its stride — the tension heightens, the fear escalates, and their darkly seductive chemistry 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 between her and her partner, and even uses Nutty Professor-esque make-up effects to disguise himself as a clergyman and weaken her beliefs.

As the plot unfolds, it becomes increasingly Gothic, featuring metamorphoses and discoveries of heritage. This leads to a third act filled with temptation, as life and eternal punishment are at stake. The movie concludes with a teaser suggesting a possible follow-up, one that could have happened had the film been more successful. Vampire in Brooklyn earned a modest box office return and got largely critical reception upon release. Over time, it gained popularity as a beloved classic, with reviewers later applauding Craven’s direction, the spark between the leads, and its sharp blend of horror and comedy. The movie shows glimpses of genius that could have been more prominent had all participants been aligned on a unified vision, rather than producing the tonal hodgepodge viewers saw. Nevertheless, Vampire in Brooklyn has deservedly secured its place in the history of Black horror, an underappreciated but influential entry defined by its bold style and unforgettable performances.