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Master of Intimidating Images

cinematic director, film noir genre

psychological narratives of mystery, murder, crime, terror, anxiety, bondage, fear, hysteria, and loss of control

Alfred Hitchcock

Earthbody-Entry Sunday-13-Aug-1899

Earthbody-Exit 29-Apr-1980 (age 80)


Film Noir cinematic director + producer * 1899-1980 * Alfred Hitchcock

birth information from * tentatively rectified by BP Lama

charts, graphs, and tables produced by Shri Jyoti Star software * adapted by BP Lama

Kala Amrita Yoga KSY * Ketu2-Rahu8

Rising Nakshatra

Masculine Nativities

Mriga-zirasa * Mraga * Marga-ziraza * Agrahayani

BPL commentary

For Mriga-sirasa births of a masculine valence, the condition of pioneering, direct, yang-energy, forward-pushing bhratru-karaka Mangala may considerably affect the outcome.

For those born into the paradigm of Mangala-ruled Invaka, brother-figures, warriors, hunters, athletes, dancers, champions, challengers, inventors, explorers, dis-coverers, engineers, drivers, drillers, diggers, exploders, aggressors, pursuers, competitions and battles may be especially influential.

Instructional guidance is provided by the civilizations of Orion. Their purpose is to promote engaging, instinctive messages that conquer, compete, startle, stimulate, pioneer, attack, and provoke.

Verbally Incisive and Commanding

Gentlemen born within a nakshatra of Mangala are gifted with a knack for competition. Shrewd, verbally intimidating, and goal-directed in Mriga-Sirasa, they strive for dominance within their cohort. Mriga are often found in business management, commercial finance, sales, marketing, advertising, script-writing, publishing, propaganda, cinema, and media-communications.

Kuja-ruled Mriga-zirasa chaps tend to be pro-active, and energetic in pursuit of the win. Because their physique may be quite heavyset, their agility is surprising. They are often found in politicsm manufacturing, media-messaging, and commerce, especially in sales, marketing, and advertising roles where their energy delivers competitive advantage.

Mraga are often accurate marksmen, able to handle weapons and metal equipment. Agrahayani fellows may have a special affinity for quadruped animals, bands of brothers, and soldiers. Due to the crystalline structure of their noses, Mraga-born have an extraordinarily acute sense of smell.

Vrishabha-Urisha pada 1-2 represent the 7-12 angle and the Zukra-Kuja attraction. Those born in pada 1-2 pursue artistic communications, legal contracts, equity, and brokerage in secluded environments, such as the laboratories, private bedrooms, or in distant lands. Their goal is the formation of vitally valuable partnerships. Depending upon Yogakaraka Shani ruler of 9+10, the Vrishabha pada of Krittika have a stronger propensity toward governance roles,

Mithunaya-Dvamdva pada 3-4 represent the 6-11 angle and the Budha-Kuja tension. Pada 3-4 are profit-driven and not averse to theft or breaking contracts for advantage. Pada 3-4 may focus on friendships, economics, and dominating the competition..

Themes of forward movement, group activity, and sporting competition may contextualize Mriga's terrestrial experience. Applies also to Chandra in Mriga-zirasa.

QUOTATION from: Shil-Ponde.(1939). Hindu Astrology Joytisha-Shastra . p 80

"Unless other testimonies in the chart predominate to modify the effect of Mraga rising,

  • these people may be very unpleasant characters.

They are inclined to be misanthropic in their attitude toward life and people.

  • They seem always to see the worst side of people and of conditions.

They are suspicious of other peoples' motives

  • and even vicious at times.

Unless checked, these thoughts will lead to vicious action

  • and they can be quite dangerous to others whom they dislike.

Possibly this attitude is caused and aggravated by some permanent organic disability

  • which is usually the lot of those who are born with Mraga rising."


Alfred Hitchcock 1970's

Biographical events matched to the Vimshottari Dasha

Guru Mahadasha * age birth until age 13.2

13-Aug-1899 Earth-birth in Leytonstone, Essex, East London, England * Guru-Shani bhukti * Shani rules 8-9 * Shani yogakaraka from Chandra-Thula * sarala yoga

Shani Mahadasha * age 13.2 until age 32.2

12-Dec-1914 decease of father (Alfred's age 15) quit day-school, switch to night-school, and go to full-time work * Shani-Shani swabhukti * Shani pitrimaraka rules 7th-from-Surya

02-Dec-1926 marriage to Alma Reville * Shani-Rahu bhukti * R-K samchara Dhanuzya-Mithunaya contact radical R-K

celebrated the birth of child-1 Patricia Hitchcock 07-July-1928* Shani-Rahu bhukti * gochara R-K Dhanuzya-Mithunaya contact radical R-K

Budha Mahadasha * age 32.2 until age 49.2

March-1939 Hitchcock signs a 7-year contract with David Selznick. Shortly afterward, the family shifts to California * Budha-Chandra bhukti * Somana-yuti-Guru Chandra gives effect of Guru ruler of 11 = 8th-from-4th, shift to "step-country"

27-Feb-1941 Hitchcock's film Rebecca win Oscar for Best Picture * Budha-Mangala bhukti * Budha rules-5 celebrity Mangala occupies-5

26-Sept-1942 decease of mother * Budha-Rahu bhukti * while gochara-Shani contact Vrishabha lagna

Ketu Mahadasha * age 49.2 until age 56.2

Zukra Mahadasha * age 56.2 until age 76.2

1958 Hitchcock receives the Golden Globe award for his television show (1955-1965) Alfred Hitchcock Presents * Zukra-Zukra swabhukti * Zukra-3 lagnesha * Zukra-parivartamsha Chandra = familiar face (Soma) on television (3)

08-Feb-1960 Hitchcock receives two Hollywood stars * Zukra-Surya bhukti * Surya-3 produces results of lagnesha Zukra = promotion, marketing of the identity

1962 Hitchcock is offered a CBE award from the British crown, but he declines it * Zukra-Mangala bhukti * Mangala occupies-5 royalty but Mangala-Kanya is critical of the pretense

Surya Mahadasha * age 76.2 until decease age 80

30-Jan-1979 decease of immediate elder sister Nellie

29-Apr-1980 Lightbody Lift-off (via renal failure, age 80) * Surya-Budha bhukti * Budha maraka rules-2

Distinctive features of the nativity


Alfred Hitchcock by Jack Mitchell

Surya * pitrikaraka * jyotikaraka

Atmakaraka = Surya * drama, camera, eye

  • Surya-Karkata * Bhanu * ray of light
  • Surya in bhava-3 * center of commerce, focus of communication
  • Surya-yuti-Zukra * confidently harmonious, brightly creative bargainer, artistic father-figure, uniquely intelligent sister-figures, entitled to pleasures, aesthetic expressions align with the spiritual rays of the Sun, financial politics, radiantly diplomatic, self-reflexively attractive features


Hitchcock's father and paternal grandfather were green-grocers, and later his business expanded into managing a series of small shops selling fish and fish-and-chips. Bhava-3 shopkeeping.

Surya the Eye in bhava-3 the Message

camera , narrative via photographic image + Zukra-3 message-media about human-to-human relationships

Chandra * matrikaraka * garha-karaka


Hitchcock's mother according to his biography was a customary stay-at-home wife and housekeeper. She was widowed when Alfred was 15, and he supported her financially until her death in 1942 (his age 43).


Hitchcock sibling rank was 3 of 3. His immediate elder sibling was a sister with whom he was said to have maintained cordial contact over the decades. However he was said to have had almost no contact with his elder brother, #1 of 3; this brother left the family home when Alfred was small.

11th-from-Chandra contains Budha-Simha for the elder sister, indicating some degree of conversation. However 11th-from-11th-from-Chandra indicates the eldest sibling brother, showing no contact despite all three of the siblings enjoying fairly long lives.

Worldwide recognizable face

Zukra-parivartamsha Chandra = familiar face on television

MARRIAGE emotional support partnership

Kuja * bhratru-karaka * virya-karaka

  • Mangala in bhava-5 * drive toward creativity, games, drama, political conquests
  • Mangala-Kanya * vigorous pursuit of logical argumentation * proactive medication * thrust toward service * push toward unfairness * champion of litigious accusation, medical treatment plans, aggressive indictments, investigative journalism

Budha * bandhava-karaka * zisya-karaka

  • Budha-Simha * political communications * hand, arm, shoulders make dramatic gestures * articulation of unique creativity * delivers announcements about celebration and bright displays * explains celebrity entitlements * messages about romance and poetic adoration * manages entertainments * details the procedure for theatrical amusements * speaks with royal flamboyance * self-referential discourse style * talks about children, genius, gambling, and games
  • Budha in bhava-4 * narrative of parents, homeland, roots, routine, ritual * discusses the mother-figure, parenting, comfort, security, defense , describer of sheltering protection, fences, boundaries, policing, guardianship, familiarity, explainer of homeland customs, delivers instructions for anchoring, patriotic slogans, talks about farms, fishing, nourishment, transportation, vehicles, schooling, foundations, folkways, customary rhythms, seasons

Budha rules 10th navamsha = ruled and occupied by Mithuna-Budha = communications, scripts, media industry, craft

Budha rules Arudha lagna = bhava-5 drama * Kanya logistics, exploitation, illness * Mangala ruler-of-12 subconscious yuvatipathi-7 his wife Alma was his professional partner in the dramatic cinema enterprise

Guru * dhavakaraka * bahuta-karaka

sarala yoga = Guru rules 8 occupies 6

  • Guru-Thula * many trades, exchanges, much negotiation
  • Guru in bhava-6 * much service, many ailments, abundant imbalance, many grievances, numerous accusations
  • Guru-yuti-Chandra matri-karaka * multiple mother-figures

Chandra-yuti-Guru = typically a generous-sized fleshly figure

Guru rules Karakamsha = Meena * radix-11 = income, friends, awards, prizes, social network

Change of Countries under auspice of vriddhipathi-11 Guru

Budha-Chandra bhukti * Somana-yuti-Guru Chandra gives effect of Guru ruler of 11 = 8th-from-4th, shift to "step-country"

Psycho 1899-1980 film noir Alfred Hitchcock settled with his family into a 200-acre California estate and stayed there for his life

Zukra * svadhu-karaka * kalatra-karaka


  • Zukra-3 * explanatory, messaging, commercial harmony
  • Zukra-Karkata * appreciation of comforting routine, likes to nourish, attracted to homeowners and farmers, pleasures of secure borders, enjoys rhythmic seasons, aesthetic of domestic arrangements
  • Zukra-yuti-Surya * balanced roles in drama, appreciation for political display, theatrical negotiations, self-focused arrangements, radiant bright beauty * self-reflexive bargaining, sweetly confident entitlements, enjoys politics, negotiating father-figure, intelligently focused on trades, arrangements, contracts * arrangements according to father's choice or self-will
  • Zukra-3 parivartamsha Chandra-6

Lagnesha = azlesha Zukra-3, beauty in communicative messaging, teams, ensemble, cooperation

Shani * duro-karaka * jara-karaka

  • Shani-Vrizchika * heavy old secrets * obliged to uncover the camouflaged realities of mass transformation * pressured to regulate the flow of occult identity changes * must explore masked trauma * vital energy compression stress zone = genitals-anus * strictly imposed rules for confidential matters must be respected * must materialize dangerous hidden knowledge * must regulate the threat of disaster * at times, penetration of the mysteries requires great effort * * must work with tightly regulated conditions of emergency * must accept the conventional methods of rigidly slow elder shamans * sustained conditions of proletarian revolution * must engage in continued discovery despite scarce available resources
  • Shani in Bhava-7 * digbala * (beneficial placement) * Structured, orderly, time-conscious partnerships. One must balance and re-balance. Cautious, conventional relationships. Tense negotiations. Chronic responsibilities toward the spouse; compression of the visible genitalia; heavy legacy pressure against freely chosen contracts. Bargaining fatigue. Resistance to new arrangements. Resentment toward changes in partner's behavior. Support for socially-approved, rigidly dutiful roles as married person, contract-holder, match-maker, attorney, diplomat, judge.

Public Facade of Marriage = yuvatibhava-7

Shani in bhava-7 = durable marriage. ruler-of-12 subconscious imagery = Shani in bhava-7 * dig-bala

No divorce due to Shani-7 Much dalliance with leading ladies; however they generally rejected him.

karmesha-10 Shani in 7 shows that his spouse's participation was structurally essential to his career.

Rahu * rajyalobha-karaka * picchala-karaka (slippery)

"Reverse Karkotaka KSY" Kala-Amrita-Yoga = all graha between Ketu and Rahu

  • Rahu-Dhanuzya-Mula * shimmering illusion of wisdom * craving for philosophical principle, theory, higher truth * shimmering illusion of wisdom * craving for philosophical principle * mirage of fatherly generosity * extraordinary theory * unusual approach to higher truth * mask of global humanistic belief * fascinating doctrine * over-reaching catechisms * fabulous patronage * seeks special importance via apparent (but perhaps not authentic) attributes of professorship, guidance, proselytism, guru-roles * fascinated by doctrine, catechism * * seeks special importance via apparent (but perhaps not authentic) guidance, generosity, patronage, proselytism, fatherliness
  • Rahu in bhava-8 * privilege via glamorous or unusual secrets recycling, rebirth, reinvention; seeks revolutionary, catastrophic changes

Shani-Rahu bhukti * R-K samchara Dhanuzya-Mithunaya contact radical R-K

  • 02-Dec-1926 Hitchcock celebrated a first-and-only marriage to the brilliant film editor Alma Reville. Their union endured 54 years until his death. Mrs. Hitchcock is widely credited as the invisible genius partner that transformed (8) Hitchcock's twisted, disturbed vision into a mesmerizing (Rahu) new film genre - film noir . Rahu-8, and his 7th-from-Chandra = 12 invisible mate

Ketu * kavandha-karaka * chidra-karaka

  • Ketu-Mithunaya * dissociates from conversations, incomplete message, empty instructions, dissolute signals, not limited by commerce, ignores restriction on communication, applies explanatory gestures to the misty abyss, applies explanatory gestures to the misty abyss
  • Ketu in classroom-2 * wanders from the preserved values, disperses family affluence, absent from lineage history, surrenders the accumulated knowledge, irrelevance of the mouth, the foods, and the stored goods; disregards conventional boundaries of speech-language. One abandons a collection, dismisses the treasuries, or walks away from the hoard.

Generally, Ketu-2 suggests a considerable distancing due to disinterest from the family of origin. Hitchcock was said to have maintained a minimal contact with his few family members, no contact with most of them, and unlike his wife Alma he did not move his London-based near-and-dear to the safety of California during WW-2. In other words, they were not near-and-dear.


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