Marlon Brando
Copyright Michael D. Robbins 2005

Astro-Rayological Interpretation & Charts
Images and Physiognomic Interpretations

to Volume 3 Table of Contents


Marlon Brando—Actor: April 3, 1924 Omaha, Nebraska, 11:00 PM, CST. (Source: recorded, B.C)

(Ascendant, Sagittarius with Jupiter in Sagittarius; MC, Virgo with NN in Virgo; Sun and Moon conjunct in Aries with Mercury also in Aries; Venus in Taurus; Mars in Capricorn; Saturn in Scorpio; Uranus Pisces conjunct the IC; Pluto in Cancer)           

Marlon Brando is considered by many to be the finest actor of his generation. He is wll known for his portrayals in “A Streetcar Named Desire”, “The Wild One”, and in 1954 he won the Oscar for best actor in “On the Waterfront”. He has also received several additional nominations for Oscars.        

Marlon Brando has developed a reputation as both a genius and a difficult, eccentric individual. He chooses his films very selectively; his performances are not many, but they are invariably a huge box-office draw. A number of directors dread to work with him because of his unpredictability. Having established so great a reputation, he has become something of a “law unto himself” (Aries) and does not seem to play be the rules which bind other actors (rebellious, willful Uranus conjunct the IC, opposing the MC)           

One of the qualities for which Brando is known is his honesty—an often disturbing and unsettling honesty. This quality, in his case, is correlated to his Sagittarian Ascendant with its exoteric ruler also in Sagittarius. Sagittarius is the lover of truth. The first ray also has a reputation for speaking the truth fearlessly, and for being; utterly indifferent to comment. There is an abundance of first ray indicated in the chart—an intense Sun/Moon conjunction in first ray Aries; the exoteric ruler of Aries, Mars, in first ray Capricorn; and Neptune placed in first ray Leo. The close trine between first ray Pluto in Cancer and Saturn (with its first ray component) in Scorpio, ensures that Brando will not refrain from speaking his opinions strongly (and even cruelly). The grand trine in fire signs adds to the intensity of the life.        

Most people know Marlon Brando as an actor, and artist of the stage and screen. Certainly, the fourth ray is powerfully represented in the chart through Sagittarius and Scorpio. Perhaps fewer know him as an idealist and an activist. He seems to have a certain contempt (first ray) for the acting profession, considering it unimportant. He seems to “throw away” or reject (first ray) what others most value in him—his artistic talent. Instead, he focuses on social abuses, especially when those abuses have fallen on Native Americans. In fact, Marlon Brando is a passionate advocate for Native American causes. Throughout his life he has spoken out (Sagittarius) on behalf of the American Indian, and has even been arrested while participating in protests against laws and policies which he considered unfair to them. Interestingly, the asteroid Hopi, which has to do with the culture and ways of indigenous peoples is conjunct his ruling Mars within  fifteen minutes of arc.       

The inlets for the sixth ray are numerous and powerful. Sagittarius, the major sixth ray sign, rises. Its expansive exoteric ruler, Jupiter (endowed with the enthusiasm characteristic of the sixth ray) is also found in this sign, reinforcing its strength, and sixth ray Mars (exoteric ruler of his Aries Sun and Moon) is closely parallel to Jupiter. Clearly Brando is “up front” in promoting his views and is not a bout to be held back or held in. He might be called a “rebel with a cause” (revolutionary Uranus square Jupiter, contraparallel and opposed to the MC). The sixth ray is further accentuated by sixth ray Neptune placed in the ninth or generically Sagittarian house, in the Sagittarian decanate of Leo (the third) and trine Sagittarian Jupiter and exactly quincunx to sixth ray Mars in Capricorn. As well, Uranus is place in Pisces, a sign with transmits the sixth ray.          

In sum, the sixth, first and fourth rays are very strong in his life, and all are well supported in the chart. As well, there is something of the third ray, the strategist, the philosopher, and he has a reputation for being a deep thinker. 

It is difficult to say whether life has given Marlon Brando what he truly and deeply desires (retarding and delaying Saturn in Scorpio in the house of goals and wishes). He gives the impression of being hugely talented, but deeply discontent and dissatisfied. This psychological state suggests the power of the fourth ray (the seeker of perfect harmony) and the sixth (the divinely discontent idealist), all empowered by the rejecting power of the isolative first ray—a strong candidate for the ray of his personality.  


Privacy is not something that I’m merely entitled to, it’s an absolute prerequisite.
Sun, Moon & Chiron in 4th house square Pluto in Cancer in 8th.

Acting is the expression of a neurotic impulse. It’s a bum’s life.... The principal benefit acting has afforded me is the money to pay for my psychoanalysis.

To grasp the full significance of life is the actor’s duty, to interpret it is his problem, and to express it his dedication.
Neptune in Leo in 9th house trine Aries Sun. Mercury in Aries in 5th house.

I don’t think I was constructed to be monogamous. I don’t think it’s the nature of any man to be monogamous.... Men are propelled by genetically ordained impulses over which they have no control to distribute their seed into as many females as possible.

An actor’s a guy who, if you ain’t talking about him, ain’t listening.

I don’t mind that I’m fat. You still get the same money.

If there's anything unsettling to the stomach, it's watching actors on television talk about their personal lives.

The only reason I'm in Hollywood is that I don't have the moral courage to refuse the money.
Venus in Taurus conjunct Descendant square Nodes.

We don't go anywhere. Going somewhere is for squares. We just go!
Sun & Moon in Aries.

Godfather/patriarch "Don" Vito Corleone: "I'm gonna make him an offer he can't refuse."

All I want to be is normally insane.

"The more sensitive you are, the more likely you are to be brutalised, develop scabs and never evolve. Never allow yourself to feel anything because you always feel too much."

"The only thing an actor owes his public is not to bore them."

"An actor is at most a poet and at least an entertainer."

"Would people applaud me if I were a good plumber?"

"I don't know what people expect when they meet me. They seem to be afraid that I'm going to piss in the potted palm and slap them on the ass."

"I put on an act sometimes, and people think I'm insensitive. Really, it's like a kind of armour because I'm too sensitive. If there are two hundred people in a room and one of them doesn't like me, I've got to get out."

"If you're successful, acting is about as soft a job as anybody could ever wish for. But if you're unsuccessful, it's worse than having a skin disease."

On one of his most famous characters, Stanley Kowalski from A Streetcar Named Desire (1951): "Kowalski was always right, and never afraid. He never wondered, he never doubted. His ego was very secure. And he had the kind of brutal agressiveness that I hate. I'm afraid of it. I detest the character."

"I don't want to spread the peanut butter of my personality on the mouldy bread of the commercial press."

"With women, I've got a long bamboo pole with a leather loop on the end. I slip the loop around their necks so they can't get away or come too close. Like catching snakes."

"The only reason I'm here in Hollywood is because I don't have the moral courage to refuse the money."

"I don't think it's the nature of any man to be monogamous. Men are propelled by genetically ordained impulses over which they have no control to distribute their seed."

"An actor's a guy who, if you ain't talking about him, ain't listening."

"If there's anything unsettling to the stomach, it's watching actors on television talk about their personal lives."

On his unforgettable role in The Godfather (1972): "I went home and did some rehearsing to satisfy my curiosity about whether I could play an Italian. I put on some makeup, stuffed Kleenex in my cheeks, and worked out the characterization first in front of a mirror, then on a television monitor. After working on it, I decided I could create a characterization that would support the story. The people at Paramount saw the footage and liked it, and that's how I became the Godfather."

When asked how he spent his time away from the camera, Marlon had this to say: "People ask that a lot," he told reporters. "They say, 'What did you do while you took time out ?' - as if the rest of my life is taking time out. But the fact is, making movies is time out for me because the rest, the nearly complete whole, is what's real for me. I'm not an actor and haven't been for years. I'm a human being - hopefully a concerned and somewhat intelligent one - who occasionally acts."

"Regret is useless in life. It's in the past. All we have is now."

"Acting is the expression of a neurotic impulse. It's a bum's life. Quitting acting is a sign of maturity."

On the impact of The Godfather (1972): "I'd gotten to know quite a few mafiosi, and all of them told me they loved the picture because I had played the Godfather with dignity. Even today I can't pay a check in Little Italy."

On his characterization of Terry Malloy in On the Waterfront (1954): "[The role] was actor-proof, a scene that demonstrated how audiences often do much of the acting themselves in an effectively told story."

{On directing] "I did it once. It was an ass-breaker. You work yourself to death. You're the first one up in the morning . . . I mean, we shot that thing [One-Eyed Jacks (1961)] on the run, you know. You make up the dialog the scene before, improvising, and your brain is going crazy."

[On the Academy Awards, to Connie Chung after his Best Supporting Actor nomination for A Dry White Season (1989)] "That's a part of the sickness in America, that you have to think in terms of who wins, who loses, who's good, who's bad, who's best, who's worst . . . I don't like to think that way. Everybody has their own value in different ways, and I don't like to think who's the best at this. I mean, what's the point of it?"

[On the Academy Awards, Connie Chung TV interview, 1990] "What do I care? I've made all the money I need to make. I won a couple of Academy Awards if I ever cared about that. I've been nominated I don't know how many times and I'm in a position of respect and standing in my craft as an actor in this country. So what the hell, I don't need to gild the lily."

[After accepting the Best Actor Oscar for On the Waterfront (1954) at the 27th Academy Awards ceremony] "I can't remember what I was going to say for the life of me. I don't think ever in my life that so many people were so directly responsible for my being so very, very happy."

"If the vacuum formed by Dr. King's death isn't filled with concern and understanding and a measure of love, then I think we all are really going to be lost here in this country."

"To grasp the full significance of life is the actor's duty, to interpret it is his problem, and to express it his dedication."

"It is a simple fact that all of us use the techniques of acting to achieve whatever ends we seek.... Acting serves as the quintessential social lubricant and a device for protecting our interests and gaining advantage in every aspect of life."

"It seems to me hilarious that our government put the face of Elvis Presley on a postage stamp after he died from an overdose of drugs. His fans don't mention that because they don't want to give up their myths. They ignore the fact that he was a drug addict and claim he invented rock 'n' roll when in fact he took it from black culture; they had been singing that way for years before he came along, copied them and became a star."

"I'm one of those people who believes that if I'm very good in this life I'll go to France when I die."

"Even today I meet people who think of me automatically as a tough, insensitive, coarse guy named Stanley Kowalski. They can't help it, but, it is troubling."

"A movie that I was in, called On the Waterfront (1954): there was a scene in a taxicab, where I turn to my brother, who's come to turn me over to the gangsters, and I lament to him that he never looked after me, he never gave me a chance, that I could have been a contender, I coulda been somebody, instead of a bum ... "You should of looked out after me, Charley." It was very moving. And people often spoke about that, "Oh, my God, what a wonderful scene, Marlon, blah blah blah blah blah." It wasn't wonderful at all. The situation was wonderful. Everybody feels like he could have been a contender, he could have been somebody, everybody feels as though he's partly bum, some part of him. He is not fulfilled and he could have done better, he could have been better. Everybody feels a sense of loss about something. So that was what touched people. It wasn't the scene itself. There are other scenes where you'll find actors being expert, but since the audience can't clearly identify with them, they just pass unnoticed. Wonderful scenes never get mentioned, only those scenes that affect people."

"Most people want those fantasies of those who are worthy of our hate - we get rid of a lot of anger that way; and of those who are worthy of our idolatry. Whether it's Farrah Fawcett or somebody else, it doesn't make a difference. They're easily replaceable units, pick 'em out like a card file. Johnnie Ray enjoyed that kind of hysterical popularity, celebration, and then suddenly he wasn't there anymore. The Beatles are now nobody in particular. Once they set screaming crowds running after them, they ran in fear of their lives, they had special tunnels for them. They can walk almost anyplace now. Because the fantasy is gone. Elvis Presley - bloated, over the hill, adolescent entertainer, suddenly drawing people into Las Vegas - had nothing to do with excellence, just myth. It's convenient for people to believe that something is wonderful, therefore they're wonderful."

"If Wally had been a woman, I would have married him and we would have lived happily ever after."

"America has been good to me, but that wasn't a gift."

"I don't think it's the nature of any man to be monogamous. Men are propelled by genetically ordained impulses over which they have no control to distribute their seed."

"An actor's a guy who, if you ain't talking about him, ain't listening."

"I have eyes like those of a dead pig."

"To grasp the full significance of life is the actor's duty, to interpret it is his problem, and to express it his dedication."

"The only reason I'm in Hollywood is that I don't have the moral courage to refuse the money."

"Privacy is not something that I'm merely entitled to, it's an absolute prerequisite."

"I don't mind that I'm fat. You still get the same money."


Marlon Brando, Jr. (April 3, 1924 – July 1, 2004) was an Oscar winning American actor who is widely regarded as one of the greatest film actors of the twentieth century. He brought the techniques of either the Stanislavski System or method acting (commonly mistaken for the same acting technique) to prominence in the films A Streetcar Named Desire and On the Waterfront, both directed by Elia Kazan in the early 1950s. His acting style, combined with his public persona as an outsider uninterested in the Hollywood of the early 1950s, had a profound effect on a generation of actors, including James Dean, Paul Newman, Robert De Niro, Al Pacino, Robert Duvall, Sean Penn, Russell Crowe, and Jack Nicholson.

Brando was also an activist, lending his presence to many issues, including the American Indian Movement.

Brando was born in Omaha, Nebraska. In 1935, when Brando was 11 years old, his parents, Marlon Brando Sr. (1895–1965) and Dorothy Pennebaker Brando (?–1954) separated. His mother briefly took her three children to live with her mother in Santa Ana, California until 1937 when the parents reconciled and moved to Libertyville, Illinois, a village north-west of Chicago. The family were of primarily Dutch, Irish and English stock, although the family name originated in Germany (Brandau). Brando's mother was a kind and talented woman, although she suffered from alcoholism and was frequently absent in Brando's childhood. She was involved in local theater and helped a young Henry Fonda to begin his own acting career, and fuelled Brando's interest in stage acting. Brando was a gifted mimic from early childhood and developed a rare ability to absorb the tics and mannerisms of people he played and to display those traits dramatically while staying in character. His elder sister, Jocelyn Brando, was also an actress, albeit not of the same stature as Marlon.

Brando had a tumultuous childhood, in which he was expelled from several schools. After working as a ditch-digger in his hometown for a brief period of time, his father grew critical of his son and encouraged him to seek his own direction. After discussing plans with his mother to join his sister already in New York and try to become an actor, the elder Brando would support his son for 6 months or return home to work for him as a salesman. Brando left Illinois for New York City, where he studied at the American Theatre Wing Professional School, New School Dramatic Workshop, and the Actors' Studio. It was at the New School's Dramatic Workshop that he studied with Stella Adler and learned the revolutionary techniques of the Stanislavski System.

Brando had two older sisters: Jocelyn Brando (1919–2005)
Frances Brando (1922-)

Marlon Brando in A Streetcar Named Desire, photographed by Carl Van Vechten, 1948Brando soon used his Stanislavski System skills for his first summer-stock roles in Sayville, New York. His behavior got him kicked out of the cast of the New School's production in Sayville, but he was discovered in a locally produced play there and then made it to Broadway in the bittersweet drama, I Remember Mama, in 1944. Critics voted him "Broadway's Most Promising Actor" for his role as an anguished, paraplegic veteran in Truckline Café, although the play was a commercial failure. He achieved real stardom, however, as Stanley Kowalski in Tennessee Williams' play A Streetcar Named Desire in 1947, directed by Elia Kazan. Brando sought out that role, driving out to Provincetown, Massachusetts where Williams was spending the summer to audition for the part. Williams recalled that he opened the screen door and knew, instantly, that he had his Stanley Kowalski.

According to an article in the Times, Brando auditioned and was accepted immediately for the lead role in "Rebel Without A Cause" in 1947. He turned the role down and the film was not made until 1955 with James Dean as lead. It is not known why Brando rejected the offer but it is suggested that he did not want to sign the 6-year contract that was necessary at the time.

Brando's first screen role was the bitter crippled veteran in The Men in 1950. True to his method, Brando spent a month in bed at a veterans' hospital to prepare for the role.

He made a much larger impression the following year when he brought his performance as Stanley Kowalski to the screen in Kazan's adaptation of "Streetcar" in 1951. He was nominated for an Academy Award for Best Actor for that role, and again in each of the next three years for his roles in Viva Zapata! in 1952, Julius Caesar in 1953 as Marc Antony, and On the Waterfront in 1954. In 1953, he also starred in Lee Falk's play "Arms and the Man". Falk was proud to tell that Marlon Brando turned down an offer of $10 000 a week to act on Broadway, in favour of working for Lee in Boston in 1953 in the play "Arms and the Man". His Boston contract was less than $500 a week.

Brando finally won the Oscar for his role of Terry Malloy in On The Waterfront. Under Kazan's direction, and with a talented ensemble around him, Brando used his Stanislavski System training and improvisational skills. Brando claimed that he had improvised much of his dialogue with Rod Steiger in the famous, much-quoted scene ("I could have been a contender.") with him in the back of a taxicab (Kazan disputed this).

Brando followed that triumph by a variety of roles in the 1950s that defied expectations: as Sky Masterson in Guys and Dolls, where he managed to carry off a singing role; as Sakini, a Japanese interpreter for the U.S. Army in postwar Japan in The Teahouse of the August Moon; as an Air Force officer in Sayonara, and a Nazi officer in The Young Lions. While he won an Oscar nomination for his acting in Sayonara, his acting had lost much of its energy and direction by the end of the 1950s.

Brando's star sank even further in the 1960s as he turned in increasingly uninspired performances in Mutiny on the Bounty and several other forgettable films. Though even at this professional low point, Brando still managed to produce a few exceptional films; such as One-Eyed Jacks (1961), a western that would be the only film Brando would ever direct, Reflections in a Golden Eye (1967) portraying a repressed gay army officer, and Burn! (1969) which Brando would later claim as his personal favourite, although a commercial failure. Nonetheless, his career had gone into almost complete eclipse by the end of the decade thanks to his reputation as a difficult star and his record in overbudget or marginal movies.

Brando became known as much for his crusades for civil rights, Native American rights and other political causes as he was for his acting. He also earned a "bad boy" reputation for his public outbursts and antics. In June 1973, Brando broke paparazzo Ron Galella's jaw. His hand became infected as a result. In the following year, Galella wore a football helmet when snapping photos of Brando.

In his autobiography Songs My Mother Taught Me, Brando claimed he showed up one night at Marilyn Monroe's apartment, and boldly announced that he was there to sleep with her (they did, according to him.) He also claimed numerous other romances, and described his marriages and family life in detail.

In his 1976 biography "The Only Contender" by Gary Carey, Brando was quoted as saying, "Like a large number of men, I, too, have had homosexual experiences, and I am not ashamed." Photographs circulate on the Internet that appear to confirm this. A 2006 book alleges affairs with Rock Hudson and Cary Grant.

An alleged long time lover was Wally Cox. Brando is quoted as saying: "If Wally had been a woman, I would have married him and we would have lived happily ever after." [1] After Cox died, Brando kept his ashes for 30 years, and they were eventually scattered with his own. Cox's third wife only discovered he possessed them after reading an interview in Time where Brando is quoted as saying: "I have Wally's ashes in my house. I talk to him all the time." She wanted to sue, but her lawyers would not accept the case.[2]

He married actress Anna Kashfi in 1957, mistakenly believing her to be of Asian Indian descent when she was in fact from Wales and of Irish Catholic extraction (her real name was Joan O'Callaghan). O'Callaghan didn't discourage Brando's mistake; in fact, she dressed and made herself up as an Indian beauty after learning that Brando gravitated toward exotic women. They divorced in 1959, after having one son, Christian Brando together.

In 1960, Brando married Movita Castaneda, a Mexican actress 7 years his senior who had appeared in the first Mutiny on the Bounty film in 1935, some 27 years before Brando's own version was released. A remake of Mutiny on the Bounty in 1962, with Brando as Fletcher Christian seemed to bolster his reputation as a difficult star. He was blamed for a change in directors and a runaway budget, though he disclaimed responsibility for either.

The "Bounty" experience affected Brando's life in a profound way: he fell in love with Tahiti and its people. He took a 99-year lease on part of an atoll island, Tetiaroa, which he intended to make part-environmental laboratory and part-resort. Tahitian beauty Tarita Teriipia, who played Christian's love interest, became his third wife. A 1961 article on Tarita in the fan magazine Motion Picture described Brando's delight at how naïve and unsophisticated she was. Teriipia became the mother of three of his children (one of whom died, see below). The hotel on Tetiaroa was eventually built; it went through many redesigns due to changes demanded by Brando over the years, but is now closed. A new hotel consisting of 30 deluxe villas is due to open in 2008.

All three of Brando's wives were pregnant when he married them. The number of children he had is still in dispute, although he recognized eleven children in his will; they were (ages as given in 2005):

by his marriage to actress Anna Kashfi:
Christian Brando (47)
by his marriage to actress Movita Castaneda:
Miko Brando (44)
Rebecca Brando Kotlinzky (39)
by his marriage to Tarita Teriipia:
Simon Teihotu Brando (42) - the only inhabitant of Tetiaroa
Cheyenne (committed suicide in 1995 at the age of 25)
by adoption:
Petra Brando-Corval (33), daughter of Brando's assistant Caroline Barrett
Maimiti Brando (29)
Raiatua Brando (24)
by his maid Christina Maria Ruiz:
Nina Priscilla Brando (15)
Myles Jonathan Brando (13)
Timothy Gahan Brando (11)

In May 1990, Christian shot and killed Dag Drollet, the Tahitian lover of Christian's half-sister Cheyenne, at the family's hilltop home above Beverly Hills. Christian, 31, claimed the shooting was accidental.

After a heavily publicized trial, Christian was found guilty of voluntary manslaughter and use of a gun. He was sentenced to 10 years. Before the sentencing, Brando delivered an hour of rambling testimony in which he said he and his ex-wife had failed Christian. He commented softly to members of the Drollet family: "I'm sorry... If I could trade places with Dag, I would. I'm prepared for the consequences." Afterward, Drollet's father said he thought Brando was acting and his son was "getting away with murder."

The tragedy was compounded in 1995, when Cheyenne, said to still be depressed over Drollet's death, committed suicide by hanging herself in Tahiti. She was only 25 years old. Tarita later wrote a book detailing how Cheyenne was sexually abused for years by her father.

Final years and death
Brando's notoriety, his family's troubled lives, his self-exile from Hollywood, and his obesity, unfortunately attracted more attention than his late acting career. He also earned a reputation for being difficult on the set, often unwilling or unable to memorize his lines and less interested in taking direction than in confronting the film director with odd and childish demands. On the other hand, most other actors found him generous, funny and supportive. Although more and more reclusive in his declining years, Brando was by nature a casual and friendly man.

The actor was a long-time close friend of the entertainer Michael Jackson and paid regular visits to his Neverland Ranch, resting there for weeks. Brando also participated in the singer's solo career 30th anniversary celebration concerts in 2001, as well as starring in his 15 minutes long music video "You Rock My World", the same year. The actor's son, Miko, was Jackson's bodyguard for several years, and is also a friend of the singer.

On July 1, 2004, at 6:30 p.m. local time, Brando died at the age of 80. The cause of his death was intentionally withheld, with his lawyer citing privacy concerns. It was later revealed that he died at UCLA Medical Center of lung failure brought on by pulmonary fibrosis. He had also been suffering from congestive heart failure and diabetes, which was causing his eyesight to fail, and had also recently been diagnosed with liver cancer. Brando was cremated and his ashes were scattered in two places. Part of his ashes were scattered in Tahiti and part of his ashes were scattered in Death Valley.

In the infamous Playboy magazine interview of January 1979, Brando was charged with anti-Semitism in regard to his opinion on double-standards set by Jews in Hollywood with respect to racial and cultural stereotyping: "You've seen every single race besmirched, but you never saw an unfavorable image of the Kike because the Jews were ever so watchful for that. They never allowed it to be shown on screen."

Brando again attracted controversy by making similar allegations on Larry King Live in April 1996, saying "Hollywood is run by Jews; it is owned by Jews, and they should have a greater sensitivity about the issue of -- of people who are suffering. Because they've exploited — we have seen the — we have seen the Nigger and Greaseball, we've seen the Chink, we've seen the slit-eyed dangerous Jap, we have seen the wily Filipino, we've seen everything but we never saw the Kike. Because they knew perfectly well, that that is where you draw the wagons around." King replied, "When you say — when you say something like that you are playing right in, though, to anti-Semitic people who say the Jews are —" at which point Brando interrupted, "No, no, because I will be the first one who will appraise the Jews honestly and say 'Thank God for the Jews.'"

Brando in 1948Despite his later obesity, Brando would diet, run and lift weights to keep in shape in his early to mid career. He started to lift weights while in high school.
A biopic is currently in development written by new-comer Johnny Bas, actors reportedly up for the role are Ryan Phillipe and Billy Zane. [citation needed]
Turned down the title role in Lawrence of Arabia (1962).

Bud (his childhood family nickname)
Mr Mumbles (given to him by Frank Sinatra)

5' 10" (1.78 m)


to all Astrological Interpretations by Michael D. Robbins
to other commentary and projects by Michael D. Robbins
to the University of the Seven Rays

to home