Gretchen Mol (born November 8, 1972) is an American actress.
- In 1994, Gretchen Mol was spotted by photographer Davis Powell. He photographed her in New York's Central Park and replaced her unrepresentative portfolio with professional-looking black & white images which landed her on the cover of W magazine within weeks and foreshadowed her "It Girl" and "Bettie Page" looks. Shortly afterwards, she ended her brief modeling career and entered acting full time.
- "I see everything while I'm driving around, and I say, 'Oh, that's coming out. I remember I auditioned for that and I didn't get it." -Gretchen Mol
- "She was - is - will a very sexy lady... what do you think of Gretchen Mol? "
Biography: In 1998, Gretchen Mol appeared in several notable films including Rounders, starring Matt Damon and Woody Allen's Celebrity opposite Leonardo DiCaprio. It was in 1998 that she also came to prominence and notoriety when she was featured on the cover of Vanity Fair magazine. Her appearance was both a triumph and a failure - it brought her great attention, but her movies bombed. Dubbed the "It Girl of the Nineties" by the magazine, her career did not live up to the hype - her early success was not sustained and she faced several lean years before a notable comeback with The Notorious Bettie Page in 2006.
While major roles have been sporadic, Mol has been in more than thirty feature films. And though the films have often been small, she has worked for a number of important directors. Her first role came in Spike Lee's 1996 film, Girl 6. She said "I was auditioning for Guiding Light and I was happy I got a Spike Lee movie, which was a tiny part, but all of a sudden I had Spike Lee on my resume. I didn't audition for day player anymore".
After Girl 6, New York filmmaker Abel Ferrara took notice and cast her in two movies, The Funeral (1996) and New Rose Hotel (1998). She had a small role in Donnie Brasco (1998). But by now, she was being typecast as "the girlfriend," which she attempted to change by taking a role opposite Jude Law in Music From Another Room (1998), a romantic comedy. Unfortunately, the film went virtually unnoticed by critics and audiences.
For her second film with Woody Allen, 1999's Sweet and Lowdown, she played a minor role which the Greenwich Village Gazette called "notable". She played the victim of a con in the 2003 film, Heavy Put-Away based on the Terry Southern story. In 2006, she shared the lead in a romantic comedy, Puccini for Beginners, in which her character has a lesbian affair.
Mol worked with Mary Harron for two years as the director struggled to finance The Notorious Bettie Page: "I kind of felt like I lived with it for a while; certainly not as long as Mary Harron did but I got a good chance to really feel like I knew something about Bettie so by the time the role was mine and I was on set I was pretty confident. I felt like I really worked for it".
The next year, 2007, was one of her busiest, with four films in production or in release, including a remake of 3:10 to Yuma starring Russell Crowe, and An American Affair in which her character, Catherine Caswell, has an affair with John F. Kennedy. When released in February 2009, the film was harshly criticized by New York Times critic Stephen Holden, though he said that Mol's part was "quite well acted".
In April 2008, she began filming Tenure in Philadelphia, working opposite Luke Wilson, and Andrew Daly. Though it had received some good reviews after being screened at several film festivals, it was released direct-to-video in February 2010.
"Why in your opinion has Bettie become an icon?
Gretchen Mol: Well, I do think it's because of that quality. I think when she was in front of the camera, she had this - She unleashed this purity, this innocence and this healthiness of her spirit. She never was playing sexy. She was never playing with any need for a reaction. She was just fully in herself. And there's that line in the movie where she says she wanted to be lifted up or taken to another place. I always felt that when she was posing, she did go to that place. And when I saw the loops where she's moving around, she's like in her own atmosphere. It's Bettie's world. And I think then that really allows whoever is looking at and admiring and using this photograph, it gives you permission for it to be whatever you need it to be. That's why I think Bettie's appeal crosses borders of men and women and generations."
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