It’s quite likely that, in a few summers’ time, cinemagoing will start to resemble entering a giant narrative web, as each auditorium will be hosting a film featuring characters on their way to the plot being screened in the next theatre over. Disney, Marvel, DC—the brilliance of their crossover strategy seems only matched by the appetite of moviegoers for the results. The thought, then, of a standalone narrative, a one-off rather than a sequel springboard, is a rare phenomenon in today’s cinematic landscape, let alone the idea of linking films together only loosely, in such a way that they can’t be shorthanded by sticking a “2” or a “3” on the end of the original title.
But over the past ten years director Edgar Wright, for one, has successfully steered fans away from the pull of direct sequels. Instead, he favored a grand thematic statement by devising the Three Colors Cornetto Trilogy: “Shaun of the Dead,” which is currently celebrating its 10th birthday, “Hot Fuzz” (2007), and “The World’s End” (2013), three distinct statements co-written by Wright and Simon Pegg on conformity, aging, and friendship, which all simultaneously serve as quality, rip-roaring entries in three separate genres.
While Wright’s trilogy is perhaps the most high-profile, recent example of such an approach, many filmmakers, most of them outside the United States, have quietly built up similar meditations on a certain subject or theme, and delivered a trio of films that, while nothing like a franchise, still reward being thought of as a single entity as well as their disparate components. Here, to celebrate 10 years of ‘Shaun,’ we delve into 15 other examples of cinematic trilogies, (mostly) delivered by a single distinctive filmmaking voice. And while the first selection of “Road To…” movies are centered around the actors, one could very easily argue that without them, it simply wouldn’t have worked.
The “Road to…” Trilogy: “Road to Singapore” (1940)/“Road to Zanzibar” (1941)/”Road to Morocco” (1942)
Seven films from 1940 to 1962 made Bob Hope, Bing Crosby, and Dorothy Lamour household names back in the day, and rewarded Paramount with one of their most financially successful series. But it was the initial trilogy of films, “Road to Singapore,” “Road to Zanzibar,” and “Road to Morocco,” that set the stage for the long-running antics of Hope and Crosby—largely improvised, energetic, and rife with brilliant chemistry. Also featuring Lamour as the straight man and the duo’s object of affection, arguably the films never really kept a straight face long enough to construct the kind of thematic consistency we’re really talking about here, outside of your most basic con artistry. But consider these genre-swapping films a prototype for the balancing acts of action, comedy, and genuine drama in the Cornetto Trilogy later on, and simply enjoy the interplay of Hope and Crosby as they travel from country to country, hatching new financial schemes, falling for the local beauty, and fleeing town promptly afterwards.
“Road To Singapore,” the first film of the bunch and with its filmmakers uncertain of the creative direction, is definitely the weakest of the three, essentially an Apatow production of the ‘40s that let its two leads improvise the entire show. But it was a rumored outburst to camera from Lamour during its filming (“Hey fellas, I haven’t had a line for ages!”) that clarified for the crew the winking and entirely absurd approach held from that point forward. ‘Zanzibar’ and ‘Morocco’ both showcase a number of recurring jokes and fourth wall breaks that grew to define the series: the patty-cake routine signaling a brawl, or a camel lamenting his status in “the screwiest picture I’ve ever been in.” Hope and Crosby found their groove in “Zanzibar” and perfected it with “Morocco”, a film that in fact netted two Oscar nominations—one for Sound Recording and one for the screenplay by Frank Butler and Don Hartman. Essential, and without a doubt the most easygoing trilogy on this list, a point to keep in mind once Lars von Trier enters the arena in a fit of existential ennui.
Guy Maddin\’s \’Me\’ trilogy – Cowards Bend The Knee, Brand upon The Brain and My Winnipeg. The closest cinema ever came to the Nabokovian melange of sarcy wit and nostalgic evocation? I have no earthly one but it\’s fahkin mustard
I could never really picture those Carpenter movies as a trilogy.
I guess they all involve the end of the world or something, but that seems like a minor aspect to the best of the three, and the other two just seem so removed in feel and quality.
And to be honest I'm not always comfortable considering the first 3 SW's a trilogy, return being so bad. Its like calling the first 3 X-men a trilogy.
I'd prefer not to.
It's Wajda, not Wadja! An exquisite article, though. I'm glad you mentioned KieÅlowski's Three Colours.
Gus Van Sant's death trilogy in which he has even said are connected: GERRY, ELEPHANT and LAST DAYS
Oliver Stone's Vietnam Trilogy
Platoon/Born On The Fourth Of July/Heaven And Earth
John Carney's struggling musician trilogy-in-a-making.
Once
Begin Again
How come you forgot to mention Wong Kar Wai ?? such a shame…
Barry Levinson's Baltimore Trilogy–Avalon, Diner and Liberty Heights.
Ozu's Noriko Trilogy is not here.
Oliver Stone Vietnam trilogy?
Upon completion, "Silence" will complete what could be called a "meditation on faith" trilogy for Scorsese, preceded by "Last Temptation of Christ" and "Kundun".
In We own the Night…..James Caan Its not the father of JoaquÃn phoenix and Mark….is robert duvall
I think John Frankenheimer's (self titled) Paranoia trilogy should be there.
1) Manchurian Candidate
2) Seven Days in May
3) Seconds
Another worthy honorable mention is Spielberg's "running man" trilogy – Artificial Intelligence A.I., Minority Report and Catch Me If You Can. All three feature alienated and isolated protagonists who find themselves on the run from forces they cannot control. And all excellent movies, of course.
Missing two trilogies from Stanley Kubrick and Paul Thomas Anderson.
Kubrick: Dr. Strangelove, 2001 and A Clockwork Orange
Anderson: There Will Be Blood, The Master and Punch-Drunk Love (view in that order)
Director Theo Angelopoulos had 3:
The Trilogy of History: "Days of '36", 1972; "Traveling Players", 1975; and "The Hunters", 1977.
The Trilogy of Silence: "Voyage to Cythera", 1984; "The Beekeeper", 1986; "Landscapes in the Midst", 1988
The Trilogy of Borders: "The Suspended Step of the Stork", 1991; "Ulysses' Gaze", 1995; "Eternity and a Day", 1998
He would have completed a fourth trilogy (referred to as Trilogy on Modern Greece) that began with "The Weeping Meadow" (2004) and "The Dust of Time" (2009) but was killed during the filming of the third film, called "The Other Sea" (2012).
No Canada? Bruce McDonald's Rock 'n' Road trilogy? Highway 69, Roadkill, and Hardcore Logo?
1. Francis Ford Coppola's 'Godfather' Trilogy
2. Satyajit Ray's 'Apu Trilogy'
3. Satyajit Ray's 'Calcutta Trilogy'
Clearly The Playlist hates Linklater and his "Before…" trilogy…
The Cornetto Trilogy? Shaun of the Dead, Hot Fuzz, The World's End
Where in the hell is Sergio Leones "Once upon a time…" Trilogy?
Other than that and the missing Herzogs Jungle Trilogy, really great list.
How can you forget Pakula's paranoia trilogy…Klute, Parallax View, All the President's Men!!!
Ulrich Seidl's Paradise trilogy from last year was brilliant. Love and Faith in particular, but Hope is excellent as well.
From the Americas, it could also be mentioned Pablo LarraÃn's trilogy of the Chilean military dictatorship: âTony Maneroâ (2008), âPost Mortemâ (2010) and âNoâ (2012).
Can't forget the dour and depressing tone of all the films in the "Jennifer Connelly Suicide Trilogy" – ie. "Requiem for a Dream," "House of Sand and Fog" and "Dark Water".
Great list, though I submit that Claire Denis made a quadrilogy– "White Material" was almost certainly a cap on her colonialist films. I would also recommend Werner Herzog's "Kinski in the Jungle" trilogy (for lack of a better title): "Aguirre," "Fitzcarraldo," and "Cobra Verde."
Park Chan-Wook didn't win the Palm D'or with Oldboy, he won the Grand Prix.
Both John Frankenheimer and Alan J. Pakula produced "paranoia trilogies". Frankenheimer had The Manchurian Candidate (1962), and Seven Days in May (1964), and Seconds (1960). Pakula directed Klute (1971), The Parallax View (1974), and All the President's Men (1976).
Wong Kar-Wai?