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Born and Raised during the militarization of Fascist Italy under


50+ year career in

fashion accessories design

perfume * jewelry * eyewear luxury-goods commerce

drama * song * cinema

Sophia Loren

a.k.a. Sofia Villani Scicolone

a.k.a. Sophia Lazzaro

Earthbody-Entry Thu-20-Sept-1934


Sophia Loren in 1957, year of her marriage to Carlo Ponti, her age 23


cinematic dramatist, fashion eyewear entrepreneur *1934- * Sofia Villani Scicolone *"Sophia Loren"

birth information from * tentatively rectified by BP Lama

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

Rising Nakshatra

Feminine Nativity

Purvaphalguni * Yoni

BPL commentary

For Purvaphalguni * Yoni * births of a feminine valence, the condition of sweetly musical, artistic, harmony-seeking, negotiating, balancing, arranging, designing, matching, pairing, sensually pleasuring akarshana-karaka Bright Bhrigu may considerably affect the outcome.

For those born into the Zukra-ruled paradigm of Vutavabana, feminine figures such as sisters, aunts, and wives, along with partnerships, contracts, bargains, sensual pleasures, lovers, artistic beauty, luxurious scents, treasuries, financial arrangements, and music, may be especially influential.

Instructional guidance provided by emissaries from the civilizations of Zosma. Their purpose is to dramatize, glamorize, and politicize the grand theatre of creative life.

Diplomatic charm

Zukra-ruled Purvaphalguni ladies are often the diva type. Yoni-born are found in the sparkling bright worlds of political diplomacy, romance, entertainment, speculative finance, performance arts, and fashion design. Women born into a nakshatra of Zukra are often blessed by a special aptitude for music, beauty, treasuries, ornaments, design arts, and financial affairs.

Yoni-born are happiest when playing musical instruments, dancing on the theatrical stage, or performing a richly costumed dramatic role for an appreciative audience, Delighted by spectacle and applause, they glitter and radiate at parties, creative events, political campaigns, and games..

Depending upon the placements of dhanakaraka Zukra and dhanapathi Budha, the Purvarjuni-born may also display financial intelligence, bargaining ability, and glamour in romantic relationships.

Like all Zukra-governed births, Bhagadaivata-born must take care to avoid the misuse of drugs and alcohol. Political and creative success depends upon the charisma of lagnesha Surya. Financial success depends upon the dual-dhanakaraka Zukra and Budha.

Themes of theatrical celebrity, lavish musical entertainments, arts and fashion, and financial agreements may contextualize Pubba's terrestrial experience. Applies also to Chandra-Purvaphalguni.

QUOTATION from Shil-Ponde. (1939). Hindu Astrology Joytisha-Shastra . p 95

"... an oval face, whose features are well proportioned

  • and a quiet, well modulated voice, soft and cultured.
She is modest and unassuming
  • but has a strong and fine character beneath her quiet demeanor.

Very hospitable and sociable, she likes to meet people

  • and is interested in what they have to say and in their troubles.

She likes to sew or embroider

  • and is often occupied with such tasks.

She also is keenly interested in occult subjects

  • And likes to listen to discussions on these matters and to read about them.

She is scrupulous in her obligations

  • and a favor done to her will always be repaid promptly with something else added."


Sophia Loren in the 1950's

Biographical Details matched to Vimshottari Dasha bhukti


Sophia Loren and her husband Carlo Ponti in elder years. When they first married in 1957, she was age-23 and he was age-45. They had been married for fifty years when he deceased in 2007.


Chandra Mahadasha * age birth until age 1.1

20-Sept-1934 Earth-birth at the Clinica Regina Margherita in Roma, Italia * Chandra-Zukra bhukti

1935 invasion of Abyssinia by Italy-Dictator 1883-1945 Fascist Benito Mussolin. Italian economy impoverishes the people in favor of funding for war. * Chandra-Mangala bhukti * nichha-Kuja-yuti-Ketu

Mangala Mahadasha * age 1.1 until age 8.1

Rahu Mahadasha * age 8.1 until age 26..1

1950 begins film career age 16 * Rahu-Budha bhukti

1956 (age 24) begin international career with a five-film contract with Paramount Studios * Rahu-Zukra bhukti * Zukra rules 3-cinema + 10 career + Zukra rules uttama-Rahu-in- 10th-navamsha

17-Sep-1957 * paper marriage-1 by double-proxy in Mejico (Sophia 23; Carlo 45). * Rahu-Surya bhukti * Surya rules Simha swamsha * samchara Rahu-Ketu Thula-Mesha contact ___

1960 starring role in the critically and popularly successful film Two Women brings dozens of prizes and profits for the investor * .Rahu-Mangala chidradasha * Mangala yogakaraka rules 4 + 9

Guru Mahadasha * age 26.1 until age 42.1

1962 Academy Award (Oscar) Best Actress for a foreign-language performance * Guru-Guru swabhukti * Guru rules 5-celebrity, fame

1965 * Ponti's first wife agrees to a divorce in France. Guru-Shani bhukti * Shani rules 7-agreements ++ Sade-Sati

09-Apr-1966 * the couple were legally remarried. Guru-Budha bhukti * Surya-yuti-Budha * Budha gives effect of Surya . samchara Rahu-Ketu Vrishabha-Vrizchika contact navamsha R-K.

29-Dec-1968 * celebrated the birth of child-1 musical orchestra director Carlo Ponti Jr.* Guru-Zukra bhukti * Zukra rules 5th-from-Chandra

Shani Mahadasha * age 42.1 until age 61.1

1976 grieved the decease of father (whom she had met only three times) * Shani-Shani swabhukti

1982 served 18-day prison sentence for tax evasion. No harm to her career due to Vimala Yoga. * Shani-Ketu bhukti * Ketu-12 prison

1991 grieved the decease of mother (SL's age 59) * Shani-Rahu bhukti ++ Sade-Sati

Budha Mahadasha * age 61.1 until age 78.1

10-Jan-2007 * grieved the decease of husband Carlo Ponti, his age 94 * Budha-Rahu bhukti

Ketu Mahadasha * age 78.1 until age 85.1

Salient features of the nativity


Sophia Loren in her 60's

Two Women 1934- drama-commerce Sophia Loren grew up in urban squalor as the child of an aspiring actress who had been abandoned by SL's construction-worker father. Sophia was mainly raised under the roof of her maternal grandparents. Boundaries were broken (Ketu, nichha Mangala-12) by a profusion of various impoverished relatives. The onset of war (Kuja) destroyed food and water resources. SL recounted that as a child she slept in a bedroom with eight other people; her mother siphoned car radiators to obtain water for the children. The violence of World-War-2 in Italy supported the trade of her musical mother and grandmother; they provided comforting entertainments for gentlemen. Yet Sophia was never abandoned. Mangala is ultimately a yogakaraka providing security and humanistic worldview, but the early path may be challenging. nichha-Mangala-yuti-Ketu mutual exchange with Chandra+Shani+Rahu-6 = Vimala yoga +++ Three generations of women worked together in poverty and violence to survive and thrive.

Surya * pitrikaraka * Jyotikaraka


  • Surya-Kanya * Poshanya * Pushna * the nourisher
  • Surya in bhava-2 * center of values, intelligence for storage, conservation, containment, values; focus on treasuries, banking entitlements, bright face-speech-song, eye on capitalization-banking, * father = center of family* sparkling center of the treasury-drama
  • Surya-yuti-Budha * confidently conversational * bright messenger * entitled to discuss * creatively intelligent sibling-cohort * discursive father-figure * speaks and gestures in alignment with the spiritual rays of the Sun * radiantly descriptive * articulate in drama and games * self-confident announcements * talks about ideals, power-politics, poetic love, and romance


Dad = Riccardo Scicolone, a construction worker. According to her autobiography, SL met her father a total of three times. Although he was the father of Sofia and her younger sister Maria, the Dad would not marry her mom.


Chandra * matrikaraka * garha-karaka

* Vimala Yoga

  • Chandra-Makara-Draco * comforted by rhythmic hierarchical ordering
  • Chandra in Shravana* comforted by careful listening * protectors of undulating shamanic sound, customary lawfulness, structured parenting, reputable dwelling
  • Chandra in classroom-6 accustomed to nursing + caretaking * comforted by service ministry * familiar with animosity * acculturated to accusation * accustomed to litigation, indictments * needs to feel the repeating pulse of domestic + interpersonal conflict * emotionally attuned to be helpful *settled into the rhythm of problematics * seeks formulaic remedies * soothed by medication *suffers routine ailments * undulating disagreements
  • Somana-yuti-Shani * nishturabashi yoga * Emotionally constricted * pressured by punitive authority figures * sensitive to class boundaries * soothed by structure * needs rigid routines * heavy maternal workload * comfortable with elders * familiar with strict hierarchies * mother emotionally limited * needs rules * feels like a worker
  • Somana-yuti-Rahu * Emotionally expedient, sensitive to exotic figures, needs exciting opportunities, soothed by unusual environments, undulating desires, craves nurturing, feels exceptional


Mom = Romilda Villani (1910–1991)

Many of SL's roles have a mother-daughter element, reflecting the influence of her her aspiring-actress mother. Mom is a highly complex personality and not an easy one. Many Italian women, starving and houses bombed, were forced into prostitution during the war. SL's grandmother ran a private lounge popular with American GI's.

Maternal Grandparents = 4th-from-Chandra

Paternal abandonment compounded with the coming war caused Sofia to be raised by her maternal grandparents. Bhava-9 similar to father = dharmesha nichha- Mangala-yuti-Ketu-12 * however Mangala = yogakaraka indicating fortune arrives.

Mangala Mahadasha * age 1.1 until age 8.1 * era living with grandparents

Pattern of Survival: Chandra-6 mutual drishti with nichha-Mangala-yuti-Ketu. Chandra yuti Shani-yuti-Rahu.

Somana-yuti-Shani emotional affinity for earthy cinema roles

MARRIAGE partnership support expectations


SL's volatile and non-customary marriage story was legend in the tabloid press of the 1950's and 1960's. In Catholic Italy, divorce was illegal. SL's romance with the married cinema director Carlo Ponti caused a lasting public furor.

Typical of Somana-yuti-Rahu SL identified emotionally with cultural exceptionalism, being special. Typical of Somana-yuti-Shani she persisted until the marriage could be legalized.

nichha-Mangala-yuti-Ketu indicates the passive-aggressive (Azlesa) and eccentric character of the spouse. The early phases of the relationship were barrier-bending, taboo-twisting (Rahu) and emotionally withholding (Somana-yuti-Shan) passionate (Somana-yuti-Rahu) and frequently interrupted by affairs on both sides.

Typical of the Simha nativity, lifepartner was significantly her senior. The couple met when SL = 16 and Ponti = 38. At time of the tabloid celebrated double-proxy marriage in 1957, Sophia 23 + Carlo 45.

Nevertheless, Mangala is a powerful yogakaraka for SL's Simha nativity, and the results of the partnership favored her home-and-properties (4) as well as her fortunes in celebrity entertainment (9)

The first ceremony, a marriage-by-double-proxy with two attorneys standing-in for the husband-and-wife, = an expedient legitimation device to prevent public outcry (Rahu expedient). Although anciently recognized by the Roman-rite Catholic Church, the proxy marriage was considered in Italy as an act of bigamy for Ponti, and it was later annulled.

Kuja * bhratru-karaka * virya-karaka

  • Mangala-Karkata * nichha * active pursuit of security * proactive nourishment * drive toward rooting + settling * vigorous defensive movement * police protector * fence-builder * push toward land ownership * promotes construction of settlements * innovative farming + fishing * energetically ethnic * champion of local cultures
  • Mangala in bhava-12 * drive toward privacy, pursuit of inner guidance, invaders from distant lands, hyperactive ancestors, seeking sanctuary, clairsentient dynamics, energized invisible conquests, phantoms of aggressive competition, innovative research, progressive action in distant lands, imaginative discovery
  • Kuja-yuti-Ketu * forceful break-up * invigorated collapse * energized pilgrimage * dynamic wandering * masculine force joins apathetic surrender * potential for aggressive annihilation of initiations

Remarkable Mangala outcomes * Mangala-Karkata won't let go

Mangala yogakaraka for Simha lagna rules 4-mother + 9-father.

Therefore when Mangala is damaged, as He is for nichha-Mangala-yuti-Ketu-12, both of the parents may become desapparacidos. Raised in poverty during the extremes of the losing side of WorldWar-2, SL would have felt unsupported by the parents. Even the maternal grandparents, with whom she lived in various situations as a child, being 4th-from-Chandra are ruled by this same surrendering, passive-aggressive pair = nichha-Mangala-yuti-Ketu-12. Part of her drive to succeed in her own way on her own terms is likely accountable to the tensions and undependable behaviors of her Chandra and Mangala Mahadasha periods.

Mangala is rescued in navamsha, where Kuja becomes the career-driving uttama-Mangala-6. Although personally exhausting, the public fixation (Azlesa-Kuja) on her private life was enduring.

Divorce, betrayal, disloyalty, criticism, and other drama of barrier-bending, taboo-twisting fueled her publicity engine. At a time of social change, the working class, tabloid-reading public was mesmerized (Rahu) by SL's story.

An unwitting icon of public discourse in the Euro-western cultures, in a business where "there's no such thing as bad publicity", the drama of age difference, bigamy, divorce, and passion was endlessly popular. In 1950's North America, divorce was still scandalous, legally difficult, and usually victimized women. By the 1960's, many jurisdictions had introduced no-fault divorce, eliminating court trials, and divorce began to lose its social stigma. By the time SL was legitimately married and the mother of two sons with her beloved Carlo, the divorce stigma had significantly faded from many Euro cultures.

Budha * bandhava-karaka * zisya-karaka

  • Budha-Kanya * uttama * moolatrikona * ministering service communications * articulation of digestive process * talks about service* formulates descriptive complaints * programmatic conversations * delivers detailed pronouncements * grammatical expertise * logical arguments * messages about accuracy * specifies error * hands-arms-shoulders make helping gestures
  • Budha in bhava-2 * narrative of values, natural resources, history, conservation, banking, treasuries * discusses sound values, speech-song, eyes-face, tells stories, defines storage, describer of family lineage , explainer of wealth preservation, delivers instructions for preservation of collected assets, talks about knowledge base, libraries, databases, languages, memory
  • Budha-yuti-Surya * explainer of dramatic intelligence * affinity for central roles expressing skills of communication, explanation, description, instruction * explainer of dramatic intelligence * affinity for central roles expressing skills of communication, explanation, description, instruction * articulation of radiant authority * message of willpower and charisma * confidently talkative father

Significant dhana-yoga via Budha

Surya-yuti-Budha -uttama * Budha-2 rules 2 ++ rules-11

SL has earned a substantial fortune by using her cinema-earned capital to invest in luxury-goods businesses. Rahu-Vrizabha * uttama in 10th navamsha also indicates exceptional roles in pleasure-and-beauty. SL's refined products are generally oriented to women (jewelry, eyeglasses, perfumes). The luxury objects generally use her own designs and iconic dramatic feminine Zukra-Singha image (Surya, Reflecting her foundational understanding of financial scarcity Shani in Bhava-6, the product lines typically offer a range from affordable to prestige. Budha-Kanya * uttama grants financial and computational capabilities.

Uttama-Budha indicates a sharp and discriminating mentality. In addition to her dramatic talents and sensual appearance, SL = notoriously smart.

Budha-Kanya * uttama rules karakamsha bhava-2 face. Her eyeglass-frames business was an commercial success, providing durable, high-fashion spectacles for the first time to the international women's market. Eyes = bhava-2

Guru * dhavakaraka * bahuta-karaka

  • Guru-Thula * many trades, exchanges, much negotiation, believes in justice, doctrine of contractual exchange, multiple alliances and arrangements, equable guidance, expands the scope of balanced design
  • Guru in bhava-3 * many messages, much commerce, many photographs, many publications, many collaborators, many transactions, many tours, frequent business trips, many sales, numerous discussions, much detailed interaction, extensive communications. Sibling-cohort ensemble identity = evangelistic growth, expansion of message, more meetings

Many cinema successes, improved by singing and drama capabilities of Brihaspati's ruler Zukra-1

Zukra * svadhu-karaka * kalatra-karaka

  • Zukra-Singha * appreciation of royal confidence, likes admiration and applause, attracted to creative performers, pleasures of radiant central roles, attracted to celebrity, enjoys intellectual display, brightly theatrical arrangements
  • Zukra-1 * pleasure of handsome embodiment; graciously feminine qualities of the appearance, enjoys athletic style of balancing, vigorous physical adjustments, appreciation of new birth * identified with beauty, equity, and fairness

Zukra rules 10th-from-Chandra. The romance and marriage(s) narrative of Sophia Loren and cinematic producer Carlo Ponti was a staple of celebrity sensational press for decades.

However lovely may be the visage, Zukra-Singha = usually somewhat reddish and extreme in appearance.

Her striking visage contradicted the petite, slender industry standard for her era. Considered unusually tall at 68 inches (5-foot-8) SL had a coppery complexion (Simha) and large bones and albeit beautifully arranged. Her physical beauty was accompanied by a variety of entertainment talents (Simha) including a capable singing voice (Purvaphalguni) .

Shani * duro-karaka * jara-karaka


  • Shani-Makara-Draco * heavy old institutions, obliged to conform to the time-clock * rigidly ranked hierarchies, strict governance regimes, pressure to complete socially required duties, vital energy compression stress zone = knees-calves-skeleton, strictly imposed hierarchies, rigidly unyielding public policies* must materialize time-ordered social approval * punitive judgments of elder regulators * must endure lowest-common-denominator proletarian structures * must continue to govern the public despite scarce available resources
  • Shani in Bhava-6 (beneficial placement) * Structured, orderly, time-conscious enemies. One must serve the problematic. One must outlast the adversaries. Endurance in military siege. Tense digestion, Cautious, conventional crimes; chronic conditions of criticism and guilt; constitutional illness-injury syndromes; Physicians resist innovation. Heavy legacy pressure against change in disease condition. Service fatigue; burnout. Resentment toward new treatments or medications. Support for socially-approved dutiful roles as social worker or disadvantaged, healthworker or sick, pharmacist or drug addict, criminal or cop, debtor or.loanmaker, underpaid or underpayer, victim or victimizer, slaver or slave.
  • Shani-yuti-Chandra * nishturabhashi yoga * resistance to protectors * pragmatic routines * austere childhood home * limited creature-comforts * blocked nutrition * burden of guilt toward mother * emotional withholding * punitive parents * class-structured ethnicity * * uncomfortable discipline * oppressed sensitivities * dried flow * needs rules + regulations * frozen feelings * strict foundational schooling * proletarian culture
  • Shani-yuti-Rahu * resistance against ambition, formally regulated cultural mixing, disciplined thrills, class-based limitations upon privilege, socially constrained opportunism, shimmering illusion of systematic conformity, irregular achievements, over-reaching elders, restricted risks

Shani-yuti-Rahu + Shani-yuti-Chandra engaged in mutual drishti with nichha-Mangala-yuti-Ketu-12 predicts an emotional-social experience that would be legally complex and taboo-challenging.

This yoga produces persistence against all challenges from the social order. It predicts volatility, passion, severe disappointments, threats to survival, and success by endurance.

Yuvathipathi Shani suggests an elder spouse. Shani in Bhava-6 in this highly complex axis indicates the decades long relationship scandal and its surprisingly beneficial outcome.

Since Mr. Ponti was previously married and the laws (Shani) of the nation of Italy did not permit legal divorce in those days, they risked prosecution for bigamy and their 1957 double-proxy marriage was annulled. While their careers both flourished in the cinematic arts, Ms. Loren was promoted as a scandalous vixen and subject of tabloid fodder for many years.

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

  • Rahu-Makara-Draco * shimmering illusion of dignity * craving for social status *mirage of elite identity * mask of hierarchy * mirage of privileged social position * over-reaching institutional leadership * fascinating laws and judgments * unusual claims to hierarchical rank * extraordinary status-markers * seeks special importance via apparent (but perhaps not authentic) attributes of lawful responsibility, boss authority, regulator-roles
  • Rahu in bhava-6 * (beneficial placement) passion for conflict, remedies * in swabhava of Busy Budha, the Shadowy Specter seeks privilege via glamorous or unusual arguments, thrilling defense of victims, conflicts, miseries, medicines, servants, accusation, injustices. Craves an environment of disagreement, injustice, misuse. Desires an important role in matters of disease, injury, warfare, labor, unfairness, toxicity * Exciting enemies. Rahu-6 trespasses the cultural boundaries in matters of debt, drugs, slavery, betrayal, exploitation, war. Rahu the Poseur may pose as a victim, a druggist, a litigator, a problem-solver, an abuser, a diseased person, an enslaved person, a relative of the mother's people. Risk-rewarding, boundary-breeching Rahu thrives in Bhava-6 where He finds opportunity in the worlds of crime, war, pharmacy, self-medication, toxicity.
  • Chandra-yuti-Rahu * amplified emotion, magnified familiarity exotic habits, tricky comforts, opportunistic mother, fascinating (but perhaps illusory) appearance of sympathetic caretaking, hypnotic rhythms, emotionally attuned to cross-cultural mixing, fascinating (but perhaps illusory) appearance of sympathetic caretaking, hypnotic rhythms, emotionally attuned to cross-cultural mixing
  • Shani-yuti-Rahu * amplified orderliness, magnified systematics, exotic rules, tricky regulations, opportunistic elders, fascinating (but perhaps illusory) appearance of strictly lawful structures, hypnotic social ranking, pragmatic order of cross-cultural mixing

Rahu Mahadasha * age 8.1 until age 26..1

Rahu-Vrizabha * uttama occupies 10th navamsha indicating extraordinary financial success in fields of fashiondesign, cinema of human love relationships, and luxury-goods such as perfumes and jewelry

Ketu * kavandha-karaka * chidra-karaka

  • Ketu-Karkata *dissociates from protective boundaries, incomplete security, empty shelter, dissolute caretaking, not limited by customary routines, ignores restriction on farming, real-estate, disarrayed home-making, applies foundational protection to the misty abyss
  • Ketu in classroom-12 (beneficial) * ambivalent toward enclosures, absent from the ancestor spirits, disregards fantasy boundaries, dissolves the isolated sanctuaries, irrelevance of sleep * Ambivalence toward clairsentient empowerment, disinterested in invisibility. One abandons the veil between perceptual worlds, ignores the dreams, surrenders the fear of imprisonment.
  • Ketu-yuti-Kuja * surrendered championship, empty actions, disconnected brothers, unsustainable domination, apathetic competition, disability, unfulfilled innovation, impermanent conquest, incomplete birth, spiritual liberation via forward movement

Distancing unavailable father = dharmesha nichha- Mangala-yuti-Ketu-12. Ms. Loren's father declined to marry her mother, and after the birth of another sister he disappeared completely. The family spoke bitterly of the father's selfishness and financial abandonment which plunged them into poverty. Ketu abandonment, 12-disappearance


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