At the height of their fame, conjoined twins Daisy and Violet Hilton were the toast of vaudeville. They were among the highest-paid entertainers on the circuit, and a young Bob Hope was part of their routine. With the coming of the movies, however, vaudeville went into decline, and the fortunes of the Hilton sisters went with it. Ironically, they are now most commonly remembered for their work in the medium that effectively killed their career: principally for their appearance, as themselves, in Tod Browning's notorious pre-code horror film Freaks. Leslie Zemeckis' documentary recounts their remarkable but profoundly difficult life, from the twins' birth in Britain to their deaths in a small town in North Carolina, where they were to be found working the checkouts at a grocery store during their final years.
Bound By Flesh is a continuation of Zemeckis' work on the history of twentieth-century entertainment, which began with her 2010 documentary about burlesque, Behind the Burly Q (the title, also, of her recently published book on the subject). Though it revels in the more sensationalistic aspects of Daisy and Violet's career -- their publicity-stunt marriages and string of failed love affairs -- the documentary also offers more sober insights into their lives, stressing in particular their remarkable rise from sideshow "attractions" to fully fledged vaudeville performers, and rebellion against the adoptive family who sought to maintain an exploitative hold over their careers.
Women and Hollywood talked to Zemeckis about the "love story" between the two sisters and the importance of looking behind the "sideshow" curtain. The film opens on June 27th.
W&H: You became aware of the Hilton sisters through your work on Behind the Burly Q. What drew you to their story?
LZ: Their struggle. That they are largely forgotten today or only remembered as one of the "freaks" in the film Freaks.
W&H: Daisy and Violet join other strong female performers of burlesque/vaudeville immortalized in your work. What is the particular appeal of this entertainment genre for you, as someone who has written and performed in her own one-woman burlesque-inspired show?
LZ: So much of early American entertainment has been forgotten or never explored (certainly burlesque from the performers' point of view). These were important forms of entertainment, including the circus, carnivals, and sideshows. They don't exist today.
W&H: Were you faced with any particular challenges in making the film? How did the experience differ from your work on Behind the Burly Q?
LZ: Go tell your story. Whatever interests you, despite what others think. Just tell a good story. If you are going to live with a subject for years, you better be passionate about it.