After a class trip to Andy Warhol 's Silver Factory, she joined Warhol's entourage and starred in a number of his underground films and appeared as a go-go dancer in the Velvet Underground's Exploding Plastic Inevitable shows.
A surgeon's stepdaughter, she was raised in Brooklyn Heights and attended Cornell University as a sculpting major. Woronov even lent her ineffable cool to a tiny but memorable guest shot as a no-nonsense doctor on the acclaimed teen/family drama "My So-Called Life." She has authored a 1995 memoir entitled "Swimming Underground: My Years in the Warhol Factory.Mary Woronov was born on December 8, 1943, at the Breakers Hotel in Palm Beach, Florida. She still turns up on film and TV, typically in small parts and cameos, often in gay-themed indies like Gregg Araki's "The Living End" (1992) and Richard Glatzer's "Grief" (1993), and sometimes in such unlikely multiplex fodder as Warren Beatty's "Dick Tracy" (1990). In recent years, Woronov has successfully resumed her art career as a painter, with exhibits in New York and London. Woronov was again delicious as a pretentious divorcee in Bartel's "Scenes from the Class Struggle in Beverly Hills" (1989). As the prudish Mary Bland, she helped her equally strange husband (Bartel) pursue his culinary dreams in a memorably twisted manner. Woronov truly shone in Bartel's deadpan sick comedy "Eating Raoul" (1982), a cult classic which Corman refused to finance.
Woronov seemed to find her spiritual home at producer Roger Corman's New World Pictures appearing in such memorable cheapies as Bartel's "Death Race 2000" (1975), as racecar driver Calamity Jane, and Allan Arkush's boisterous "Rock 'n' Roll High School" (1979), as a tough principal. Her film career picked up with roles in relatively mainstream fare with a strong exploitation angle, She earned good notices playing a scheming gold digger wife of an arrogant millionaire in "Seizure" (1974), a gory horror flick from neophyte helmer Oliver Stone. Woronov segued to the NYC stage, winning a Theatre World Award for her Broadway debut in David Rabe's "Boom Boom Room" (1974). She hooked up with the artistic crowd at Andy Warhol's Factory and subsequently became a "superstar" in several of the celebrated pop artist's experimental 1960s films, notably "The Chelsea Girls" (1966) where, as Hanoi Hannah, she berated a room full of fashion victims. Woronov came to NYC in the early 1960s to be a painter.
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