It does not answer that question with bullets. It answers with pie crust, with a broken washing machine, and with a silent prayer that somewhere, in a parallel universe, Violet and Daisy got to go to the mall instead of a morgue.
Violet and Daisy never had a childhood. Their "play" is murder. Their "lullaby" is gunfire. The film constantly references things they missed—toys, parents, proms. The assassination of Michael becomes a strange therapy session where they try on the role of "normal kids." Violet And Daisy
Born in Brighton, England, to an unmarried barmaid, they were essentially sold to their midwife, Mary Hilton. From the age of three, they were exhibited as "curiosities" across Europe and Australia before moving to the United States. It does not answer that question with bullets
While the film is a modern cult classic, the names "Violet and Daisy" resonate in other corridors of history and fiction, reinforcing their archetypal status. Their "play" is murder
While the names appear in various corners of culture—from the riotous, revolutionary teens of Sucker Punch to the gentle, rhythmic world of Finn Family Moomintroll —it is the 2013 film Violet & Daisy that offers the most startling dissection of their partnership. To understand "Violet and Daisy" is to understand a specific brand of American Gothic, a fairy tale wrapped in a bulletproof vest.
It was brutal. It was personal. And it was incredibly sloppy.