Television Review: Par Avion (Lost, S3X12, 2007)

Par Avion (S03E12)

Airdate: 14 March 2007

Written by: Christina M. Kim & Jordan Rosenberg
Directed by: Stephen Williams

Running Time: 43 minutes

Few people were aware of it at the time, but Par Avion, the twelfth episode of Season 3 and the 61st episode of Lost in general, actually represented the midpoint of the entire series. It also marked the point when some of the series' problems became so obvious that the producers decided to plan for an actual ending rather than risking destroying their legacy and reputation by artificially prolonging the show. Par Avion, whilst a solid and generally satisfactory episode, also shows some of the issues of Lost at the time – a series caught between its initial premise of survival drama and the increasingly complex mythology that would come to dominate later seasons.

By that point in the series, one of the more neglected or underused characters from the initial batch of protagonists was Claire Littleton. This was not particularly surprising, since she was a mother of a young child and, as such, too preoccupied with the banal everyday tasks of childcare to take an active part in whatever went on the Island. The scriptwriters Christina M. Kim and Jordan Rosenberg decided to compensate for some of that neglect by crafting one of the rare Claire-centric episodes. In a series dominated by the machinations of Jack, Sawyer, Kate, and Locke, it was refreshing to see the spotlight shift to a character who had largely been defined by her role as a mother rather than by any agency of her own.

The main plot deals with Claire, who, whilst watching birds in the sky, remembers nature shows she used to watch with her mother on television. This gives her an idea for how she and her fellow survivors might finally leave the Island. Her plan is to catch some of the migrating seagulls heading southwards, which she knows are tagged for scientific research, and release them with the survivors' message about their flight, hoping that some of the scientists would read it and start a rescue operation. It is a relatively simple plan, but one grounded in a believable logic that the series often lacked in its more fantastical moments.

Charlie is at first enthusiastic about the plan, but later Claire has to rely solely on Jin and Sun for providing fish as bait. Desmond, for reasons initially unexplained, seems to thwart Charlie's participation in the plan. Claire, baffled by this behaviour, follows Desmond and catches him in possession of one of the birds. Desmond explains that he has spent recent time trying to save Charlie's life, being led by precognitive visions of his death. His intention was simply to prevent Charlie from getting killed whilst trying to help Claire. With the bird obtained, the survivors send their messages – a small moment of hope in a series often characterised by despair and frustration.

The flashback provides some background to Claire's character. It begins in 1999 with a horrific car accident in which Claire, as the driver, suffers only minor injuries, but her mother ends up in a persistent vegetative state. Claire, much to her amazement, finds that an unknown benefactor has been paying for the medical bills. Later, it is revealed to be Christian Shephard, who was Claire's biological father. He tries to convince Claire to end her mother's life, but Claire is disgusted by the suggestion and wants nothing to do with Christian, who admits to having a family of his own in America. The flashback ends shortly before the fateful Oceanic 815 flight when Claire, now pregnant, visits her still-vegetative mother in hospital. The revelation that Jack and Claire are half-siblings is hardly surprising to attentive viewers, as it had been hinted at in previous episodes, but it does add a layer of tragic irony to the series' already dense web of interconnections.

The main plot advances relatively little, but there are some interesting developments. Locke, Sayid, Kate, and Rousseau continue their walk towards the "Barracks," accompanied by their prisoner Bakunin, who, whilst talking, shows an incredibly deep knowledge of the Oceanic 815 survivors and their personal histories. Rousseau then finds a field with strange pylons, apparently serving as some sort of markers. Locke solves the mystery by pushing Bakunin between them, revealing the pylons as a security system that takes out anyone who tries to pass between them with a sonic boom. Bakunin is apparently dead, but Kate finds a way to bypass the system by chopping down a tree over the pylon and going above it. She and the rest finally reach the "Barracks," where they are surprised to see Jack casually fraternising with Tom Friendly, making them ask themselves whether he has been turned by the Others.

Par Avion is a relatively simple, formulaic episode that is competently written and directed but leaves little in the way of surprises for the audience. The flashback, which provides a soap opera-like twist in revealing that Jack and Claire are siblings, is hardly ground-breaking and was actually foreshadowed in previous episodes. However, Emilie de Ravin is finally given some genuine opportunity to act, and she seizes it with both hands. Her portrayal of Claire's determination and emotional vulnerability adds depth to a character who had previously been something of a dramatic cypher.

The idea of the Others employing a high-tech security system, which Kate bypasses in a primitive but effective way, is handled well. It speaks to one of Lost's recurring themes – the tension between ancient mysticism and modern technology, between faith and science. Kate's solution is elegant in its simplicity, a reminder that sometimes the most sophisticated obstacles can be overcome with the most basic of tools.

Locke is also revealed to still have an agenda of his own, and the revelation that he helped himself to some C4 explosive from the Flame Station might suggest that blowing up the facility in the previous episode was not an accident. Terry O'Quinn continues to be one of the programme's most compelling performers, imbuing Locke with an ambiguity that keeps the audience perpetually guessing about his true motivations.

Firearms enthusiasts would probably appreciate the episode for another reason: in it, Sayid is seen carrying a Mosin Nagant rifle, a weapon found at the Flame Station. This is an iconic piece of Russian military equipment which, despite being used in countless 20th Century conflicts, is relatively rarely featured in American films and television shows. It is a small detail, but one that speaks to the programme's commitment to verisimilitude, even when dealing with increasingly fantastical subject matter.

In conclusion, Par Avion is a serviceable episode that highlights both the strengths and weaknesses of Lost during its middle period. It provides character development for an underused figure, advances the plot in modest ways, and offers competent storytelling without ever reaching the heights of the series' best instalments.

RATING: 6/10 (++)

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