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Mary Woronov Nude
Top Mary Woronov Scenes
Showing 5 of 10 — join to watch all
0:55
Nude, breasts, bush 00:10:00 Mary busts out full breasts and bushish as she changes clothes outside on a dock between two lucky dudes. Nice Hershey's Kiss nips!
2:39
Nude, breasts 00:46:34 Woronov shows her wobblies as she struggles with Ed Begly Jr. on the couch in this long scene, then again when Raoul counts cash on her stomach.
0:46
Nude, breasts 00:41:00 Mary mud-wrestles the lovely Remy O'Neill, both topless and in bikini bottoms. Down and dirty! clip2
1:38
Nude, breasts, butt, bush 00:25:57 Defiant! Tough as nails! Hot hot hot! Mary gets catty with another girl, exposing left boob, a little lower lawn, and a touch of her latter end--luscious!
0:38
Nude, breasts 00:10:00 A few sweet bits of Mary's wet tits as she relaxes in the bathtub.
0:25
Premium
Nude, breasts, lesbian 01:04:00 Mary flashes her some more hootage in the bathtub, this time while getting friendly with cutie Lynn Lowry.
Sultry, tall, brunette, cutting-edge culture icon Mary Woronov is similar to cult drag star Divine, except that Mary is really a woman. In the 1960s she sampled a strong taste of fame and anti-fame when she was hanging around artist Andy Warhol and the creative misfits who populated his famous Factory. She left Warhol’s Factory in the late 1960’s after recovering from a serious drug problem and moved to Europe to live with a friend. She would never return to the Factory. After a short stint off-Broadway she focused on TV and movies. Having appeared in more than 160 movies and TV shows, Mary has surpassed her initial cult fan status to become a legit movie and TV star. Mary studied art in college and with Warhol. Throughout her career she has taken breaks from acting to focus on writing and visual arts such a sculpture and painting. She has published three books including her own autobiography and has had her work in galleries and museums around the world.
Her proximity to the basic sensationalism of such Warhol films as Trash and Flesh taught Mary that art could be achieved in low places and that almost any movie can be improved if a lanky, brooding, dark-haired woman takes off her clothes and teases her nipples to erection. It is also beneficial if she makes out with another naked chick or if she stands and flexes her exposed ass muscles at the camera. See the formula worked to perfection in Sugar Cookies (1973), Death Race 2000 (1975), Eating Raoul (1982), and Angel of H.E.A.T. (1982).