The Ever Elusive Search for Security
Roman Polanski with his wife, the actress and model Sharon Tate
Part I of this series mentioned that two planets bear special emphasis in the birth chart of Roman Polanski – the Moon and Pluto. Both are positioned in the sign of Cancer in the film director’s chart with only 1 degree of separation between them. On one level the individual energies and influences of these two heavenly bodies seem to diametrically oppose each other, with the Moon being the closest and brightest from our perspective on Earth and Pluto being the furthest from our planet whose existence was the most recently discovered in our Solar System due its presence not being in any way visible in the evening sky. Whereas the Moon is considered the most “personal” of planets because of its association with our internalized emotions, Pluto is utterly de-personalized due to it being a “generational” planet whose influences affect all of society at large from a collective level. Even with those differences, on a much deeper, less obvious perspective both planets share an esoteric essence which unto itself bears substantial influence in the life of this artistically acclaimed yet highly controversial man known as Roman Polanski.
The energies of neither the Moon nor of Pluto are not in any way “rational”.
With that in mind, both the Moon and Pluto’s strongest influences are foundationally rooted in the depths of the subconscious with neither planet dealing with rationality as already mentioned but neither with reality as well. Rather, both planets’ energies are best suited for various states of being that are void of any rational thought altogether such as when one is in survival mode or must immediately determine whether to fight or take flight, or when a person must rely strictly on their instinct alone.
Part I also discussed that the combined influences of the Moon’s conjunction to Pluto served Roman Polanski quite well throughout the hellish years of his childhood, given the two planets’ energies had to be accessed almost immediately following his birth into a world that was as irrational as it was dangerous at that moment in time.
As with anything possessing key significance within the Universe, Pluto’s conjunction to the Moon has repercussions in both the positive and negative spectrums for Polanski. The primal power created by their conjunction in the positive spectrum enabled the man to survive both his childhood and the War. Yet the Moon being placed next to Pluto produced repercussions deep within the negative spectrum that have held influence over the darkest depths of Polanski’s psyche, causing him to act from a place of pure impulse with no rational thought or moral sensibility being applied. The repercussions from both spectrums would indicate that Roman Polanski has existed in state of inner unrest for most of his life.
Inner unrest that throughout the course of his life would drive him to search for that most elusive treasure which lies beneath the Moon’s domain – the inner peace and sense of contentment brought about by emotional security.
The timeline of Roman Polanski’s life was left off in Part I just as the man’s star of potential was about to rocket into lift off. Here it can be theorized that based on the film director’s natal chart, as Polanski’s artistic reputation and sense of fame stratospherically rose, it can be inferred that so too did the man’s ever gnawing, internalized need for emotional security increased as well.
By the end of the 1950’s, Polanski had explored and expounded upon his fascination with drama and acting, especially regarding what he described as his “obsession” for the cinema and the process of film making. What started as an experience that left him in a state of wondrous fascination while watching Nazi news reels during his horrific childhood living in the Krakow Ghetto had transformed into a well-suited mode of creative self-expression upon studying theater while performing as a stage actor in the years following the War in his native Poland. This in turn would motivate the Leonine artist to further invest his energies towards a career in film when Polanski enrolled in that country’s most well reputed film school in the city of Lodz, eventually graduating from the National Film School in 1959.
While still pursuing acting, Polanski began directing his fellow actors in various short films as well. With nearly every film Polanski directed in those early days of his career, the piece was accompanied by a screenplay written either solely by or in close collaboration with Polanski himself. This is not surprising when considering the man has an “unaspected duet” between Mercury and Saturn in his natal chart.
The Visual Director’s Panache for the Written Word:
Polanski’s Unaspected duet between Mercury & Saturn
In Astrology, a planet is considered “unaspected” if it has no interrelating aspects to any of the other heavenly bodies in a chart. This can be observed by the unaspected planet having no lines emanating from it, where lines that are red indicate friction or represent a dynamic of challenge between two heavenly bodies, and lines between planets colored blue indicate aspects of a more harmonious nature. By virtue of its isolated quality a planet that is unaspected in a birth chart is considered highly significant and usually indicates a special gift or talent within the domain of the unaspected planet’s influences of rulership.
An “unaspected duet” involves two unaspected planets that interact strictly between themselves. The two planets work together to have a uniquely profound effect. This is visibly apparent when looking at the opposition between the planets Mercury in the 10th House of the Public in Leo and Saturn in the 4th House of the Past in Aquarius in Roman Polanski’s birth chart.*
*The chart indicates a red line connecting Mercury to Uranus in the 7th by aspect of a dissociative square, however the orb is 9 degrees which I consider too wide and therefore not valid.
Extending the sign of Aquarius’ meaning to refer to the masses or general public at large, to translate Polanski’s unaspected duet formulaicly:
Roman Polanski’s skills as a film director (Leo, 10th House) are enhanced and accentuated by works in which he has written (Mercury, Leo) the original screenplay. By relating the hardships (Saturn) of his own experiences (4th House), his writing (Mercury) taps into the fears (Saturn) collectively held (Aquarius) by his movie audiences (Aquarius).
Said another way, the man with the personal background so deeply rooted in life threatening danger and paralyzing fear has the ability to extend his art beyond just verisimilitude. Through the combination of his written words and filmed images Roman Polanski can make his audience feel as if they themselves are viscerally partaking in the palette of dark emotion he presents on the film screen.
Which leads us to Polanski making his directorial debut in his first feature film, “A Knife in Water” made in 1962. The piece is significant in the history of Polish cinema in that it is one of the first films made in Poland following the War that was not about the actual war itself. The screenplay for “A Knife in Water” was written by Polanski and two others and was a commercial success in the West. Its dark theme of alienation unravelling the emotional thread that ties human relationships together was clearly understood by movie audiences at that time. “A Knife in Water” was so well received it garnered Polanski’s first feature film an Academy Award nomination in 1963 for “Best Foreign Film”.
The next three films Polanski directed were each based on original screenplays written in a joint effort by himself and his longtime collaborator, Gerard Brach:
“Repulsion” starring Catherine Deneuve (1965),“Cul de Sac” (1966) and a dark comedy about vampires which Polanski both directed and starred in entitled “The Dance of the Vampires” (1967). It was on the set of this last film where Polanski co-starred with his leading lady, a stunningly beautiful American actress and model whom he had met while nightclubbing in London named Sharon Tate. Tate was born under Polanski’s polar opposite sign of Aquarius and as happens with many on-screen lovers, the two became romantically attached and fell madly in love with each other.
Your author is of the firmest belief that Sharon Tate at the height of her abilities was undisputedly the most beautiful woman in the world
Tate and Polanski wed in London on January 20th, 1968. True to their astrological natures, Polanski dramatically wore what was described as “Edwardian finery” to their civil ceremony consisting of a long fitted outer jacket with a lace ascot whereas Tate being born beneath the sign of progressive futurism set her own trailblazing trend by wearing an ultramod white mini-dress with daisies weaved through her hair in lieu of a traditional veil.
The hippest happening in London for all of 1968:
the Wedding of Sharon Tate and Roman Polanski
The newlyweds flew to Los Angeles after their honeymoon since Polanski was scheduled to begin directing a film considered to be one of his all-time best, the first of what would later be categorized as the genre known as “Devil Child Horror Movies”, 1968’s “Rosemary’s Baby”.
The film which starred Mia Farrow tells the story of a naïve country girl relocating to the Big Apple with her husband only to discover the tenants of the building they move into are all members of a Satanic cult where she is forced into a ritual and impregnated by the Devil, himself.
A movie poster of Polanski’s horror film “Rosemary’s Baby” with an insidiously witty caption at the bottom which reads “It’s not what you’re expecting.”
Polanski’s first American film immediately drew universal acclaim upon its release drawing $33 million to the box office at the calendar end of 1969 after being made with a budget of roughly $2.3 million. Polanski once again wrote the screenplay which for one of the few times in his directorial history was not his own original work. His screenplay was adapted from the same titled book by Ira Levin and Polanski managed to stay true to nearly every scene in the story’s text. So much so, the book’s author was quoted to later describe Polanski’s adaptation of his work, “the single most faithful adaptation of a novel ever to come out of Hollywood.”
Variety Magazine hailed the film’s director saying, “Writer-director Roman Polanski has triumphed in his first US-made pic” and “The Monthly Film Bulletin” had this to say about Polanski’s artistry as a film director:
“his transformation of a cleverly calculated thriller into a serious work of art.”
Returning once more to Polanski’s chart, with so much emphasis already having been placed and analyzed on the conjunction of the Moon and Pluto in his natal chart how could “Rosemary’s Baby” NOT be universally hailed as an artistic work that made bank at the box office given it was the quintessential Lunar-Plutonian film with the Moon dealing with motherhood along with pregnancy and Pluto dealing with the dark forces/that which is taboo/ that which is unspoken/that which is deadly.
The film’s success was further affirmed when the actress who played Rosemary’s nefariously nosy next-door neighbor, Ruth Gordon won the Academy Award for Best Supporting Actress. Polanski was once again nominated for an Oscar with his masterful writing making him a nominee in the category of “Best Adapted Screenplay”.
It was at the time of the film’s release in the fall of 1968 when Polanski’s wife Sharon Tate discovered she herself was pregnant. The child was due to be born in the third week of August in 1969.
The Day “Home Security” came into the Collective Awareness of American Society
My step-father was the head of Secret Service for six American Presidents and was a man of very few words. On those rare occasions when he did have something to say, his words, although few, had an explosive quality akin to a hand grenade being thrown onto one’s lap. At Christmas dinner some years back, the subject of “home security” came up at the dinner table with nearly everyone present very incorrectly trying to guess the time period when things like house alarms, security cameras, and burglary warning devices came into existence. After listening to one seriously off answer after the next, my step father, who never initiated let alone partook in such trivial small talk threw his napkin on his plate and loudly interrupted everyone saying:
“Home Security came about in 1969 on August 10th.”
I then asked “All on a single day? Why?”
He answered hurriedly as he stood up to go to the bathroom saying “Because everyone and their mother had to lock their house up the day after that Sharon Tate and her baby were slashed to death in her own home.”
To which all of us were rendered intensely silent to absorb the aftershock left by the mini A- bomb my step father had just tossed in the middle of the room.
In Part I an article by astrologer Ray Grasse entitled “Decoding the Most Elevated Planet in the Horoscope” was referenced which theorizes that the planet positioned closest to the Midheaven bears the most influence over that person’s life. As already mentioned, for Roman Polanski’s chart, the most elevated planet is the Moon with the planet Pluto both in the sign of Cancer and just 1 degree apart from each other.
Grasse goes on to say the following observation regarding the birth charts of celebrities born with the Moon as their most elevated planet:
“a number of (male) celebrities born with the Moon as their chart’s highest body, their wives played a prominent role in their careers.”
Roman Polanski is no exception to this elevated Moon rule.
The last photo of Sharon Tate taken in her back yard on August 9th, 1969, a few hours before her murder which occurred later that evening.
As if in direct reflection of the Lunar-Plutonian themes involved with his first American film just 9 months earlier, Polanski’s wife Sharon Tate was just 2 weeks away from her due date when she, her unborn baby, and three friends staying with her while her husband was on business in London were all murdered by crazed cult followers of Charles Manson in her own home on the evening of August 9th, 1969.
Sharon Tate was 26 years old.
With the gruesome deaths of both his wife and unborn son a new layer of Hell was laid out for Roman Polanski to traverse.
Before the August 9th murders, it was not uncommon in many parts of the country, especially in California for strangers to walk right into a person’s house unannounced. Immediately following the discovery of Sharon Tate’s horrific murder, shock waves spread across the country, with people locking and boarding up their windows, doors, porches, and basements in any way they could. Celebrities left Los Angeles in droves and an untold number of children were sent to stay or live outside of Los Angeles.
The love-in that was the decade of the 1960’s officially ended most abruptly and violently on the evening of August 9th, 1969 with the grizzly murders of Sharon Tate, Jay Sebring, Wojciech Frykowski, and Abigail Folger.
In Part III of this series the conjunction of Roman Polanski’s Moon to his natal Pluto are once again triggered but instead of the man being a tortured victim of unthinkable circumstance, the tables become turned where the formerly hunted becomes the power abusing hunter.