Mol was made part and parcel of this publicity, and her bl... onde, draw off-fed looks were the subject of numerous munitions dump articles, including a memorably provocative Swell-headedness Fair September cover myth. Rounders, however, turned out to be a sizable depression, and the slavish attention surrounding its female lead almost evaporated. Mol continued to do steadily albeit, apparently refusing to die out with the hype that had initially surrounded her. Born in Occult River, Connecticut, on November 8, 1973, Mol entertained performing ambitions from a babyish age, studying tuneful theatre in addition to receiving a harmonious public public school education.

Following her high school graduation, she moved to New York, where she did a stint at the American Musical and Showy Academy and began performing in a total of stage productions. To submit to herself, Mol also worked a tons of odd jobs, the most fortuitous of which was as a coat-receipt attendant at a popular industry restaurant. There she was "discovered" by an agent, who afterward got her handiwork in commercials and on the TV sitcom Spin New Zealand urban area. Mol made her film debut with a supporting responsibility as a phone-making love operator in Spit Lee's Girl 6 (1996) and went on to do bit produce in Abel Ferrara's The Funeral (1996), Mike Newell's Donnie Brasco (1997), and Stephen Kay's The Matrix Time I Committed Suicide (1997).

Although these projects afforded Mol the chance to warm up with the likes of Al Pacino, Johnny Depp, Christopher Walken, Claire Forlani, and Adrien Brody, she was quickly being typecast into "girlfriend" roles that capitalized more on her looks than acting abilities. She did do more respectable manoeuvre in Music From Another Room (1998), converse Jude Law, but the film went virtually overlooked close critics and audiences. After 1998, which in addition to the Rounders debacle, also featured Mol as part of the all-star group mould of Woody Allen's much anticipated -- and much lambasted -- Prominence, the actress continued to work, albeit pissed from the limelight's glare. She again collaborated with Allen on Harmonious and Lowdown (1999), portrayed actress Marion Davies in Tim Robbins' big name-studded garments histrionics Cradle Will-power Surprise (1999), and starred opposite Beam Liotta and Joseph Fiennes in Paul Schrader's Forever Mine (1999).

Mol also directed some of her energy towards boob tube, portraying Madge Owens in the 2000 remake of Picnic and starring alongside Madeleine Stowe, James Cromwell, and Jonathan Rhys-Meyers in Alfonso Arau's 2001 small-screen adaptation of The Opulent Ambersons.