Daryl’s determination to reach the French capital and complete his quid pro quo mission pays off in the events of the third episode, Paris Sera Toujours Paris (‘Paris Will Always Be Paris’). Taking the safer, more meandering route through rural France in the hope of avoiding detection by their pursuers proves endlessly frustrating. So much so that even the reluctant Isabelle succumbs to the lure of Paris. What the travellers encounter on their arrival is a vibrant and volatile urban existence, unlike anything they have seen on their cross-country trek.
The show keeps up its evocative visuals and rich sense of atmosphere as The Walking Dead: Daryl Dixon reaches its first series’ mid-point. The real-world locations of rural France continue to impress, with well-rendered sets complemented by restrained and unobtrusive CGI. All of it wrapped in subdued lighting and a toned-down colour palette that leaches all sense of comfort and warmth from the on-screen vistas.
So much of this episode is infused with an eccentric Gallic imagination, echoing the kinds of gleefully twisted cinematic fantasy of Jean-Pierre Jeunet and Marc Caro, the makers of films like Delicatessen and The City of Lost Children. One particular scene of an orchestra of the undead, marshalled by a human conductor whose mental state has been broken by prolonged isolation, is reminiscent of the sensibility of both films. It’s also the kind of left-field concept that would never have made the cut of any of the US Walking Dead series. It’s no surprise, therefore, to see an understated cameo appearance by Delicatessen star Dominique Pinon as the unflappable carrier-pigeon handler Antoine, whose lack of urgency irritates an impatient Daryl.
The meeting with the high-rise Parisian community run by the gregarious Boukar shows that the Union de L’Espoir is more than a figment of Isabelle’s imagination. It also confirms that others share the belief that the young Laurent is a messianic figure and a symbol onto which they can project their hopes for the future.
The cityscapes, streets and alleyways of Paris are revealed on screen with the kind of visual flair that has rapidly become one of the series’ hallmarks. The city is full of beautifully rendered ruins, already being overwhelmed by nature’s determination to reclaim the city. Its architecture, its history and civic sensibility imbue the place with an atmosphere of faded glory – something that director Tim Southam wrings all of the impact he can from. Unlike the streets of Manhattan Island on the other side of the Atlantic, which are crammed with countless shuffling cadavers, this is a more hauntingly empty space, with citizens living in its shadows.
Just as importantly, this version of Paris has retained the hidden underbelly of the old capital, with gangs, secret clubs, and a black market in illicit goods all thriving alongside the remaining Parisians’ determination to embrace whatever life they can. It’s the idea captured by the episode’s title – that the identity, the ‘essence’, of Paris will always persist despite everything.
The foursome’s arrival in the capital brings some signature landmarks into view, including the Panthéon and the remnants of Notre Dame. Like post-apocalyptic tourists, the travellers pass through Père Lachaise Cemetery – pausing for Daryl to pay respects at Jim Morrison’s grave [despite it not being in the right place – factually accurate Ed]. There’s a plausible explanation, too, for the Eiffel Tower’s dented, truncated appearance. But most striking of all is the visit to the pulsating (and fictional) Demimonde nightclub, buried deep within the Catacombs of Paris. (‘Demimonde’ being the French term to describe those operating on the fringes of respectable society.) The place has echoes of the Folies Bergère and hints of the decadence and dark undercurrents of Cabaret’s Kit Kat Klub. It’s yet another of the show’s unexpected sights and somewhere that leaves Daryl unmoved and the pre-teen Laurent transfixed. This visit triggers new revelations about some of the key mysteries introduced in the opening episode L’âme perdue.
There’s an unexpected reunion between Isabelle and an old accomplice; Codron’s pursuit of Daryl’s group takes dramatic new turns, and there’s an achingly poignant discovery involving one of Isabelle’s former neighbours. Daryl also gets hands-on with one of the new variant ‘burner’ walkers, and there are glimpses of bizarre experiments being carried out on the infected on behalf of Codron’s boss, Genet.
Norman Reedus has been excellent from the very first scene in the series. But in this episode, as his empathetic relationship with Isabelle is given space to develop, he does some acutely judged work. As the uncomfortable truth of her character’s past life is exposed, Clémence Poésy is equally impressive, leaning in to Isabelle’s resolute determination to honour her side of her bargain with Daryl. The dynamic between this pair has become increasingly intriguing.
The episode ends with a cascade of shocks and surprises that accelerate the dramatic tempo and the sense that the major protagonists are moving into ever closer proximity. That’s a good place to be at this point in series one. But there’s more than enough to enjoy about the journey to keep thoughts about the destination at bay for now.
New episodes of THE WALKING DEAD: DARYL DIXON premiere on Sundays on AMC and AMC+ in the US
Read our previous reviews of THE WALKING DEAD: DARYL DIXON below:
Season 1, Episode 1, L’ÂME PERDUE
Season 1, Episode 2, ALOUETTE
