Birth Chart
Henry Koster
Hermann Julius Kosterlitz
Sun Taurus
Moon Aries
Ascendant Sagittarius
Influences in signs
↣ Sun in Taurus - 10°49' - in house 5
↣ Moon in Aries - 10°32' - in house 4
↣ Mercury in Aries - 28°19' - in house 4 - retrograde
↣ Venus in Taurus - 03°41' - in house 4/5 - retrograde
↣ Mars in Scorpio - 19°58' - in house 11 - retrograde
↣ Jupiter in Taurus - 12°32' - in house 5
↣ Saturn in Pisces - 01°26' - in house 2/3
↣ Uranus in Capricorn - 04°01' - in house 1 - retrograde
↣ Neptune in Cancer - 05°56' - in house 7
↣ Pluto in Gemini - 20°17' - in house 7
↣ North Node in Virgo - 07°28' - in house 9 - retrograde
↣ Ascendant in Sagittarius - 13°47' - in house 1
↣ Midheaven in Libra - 16°16' - in house 10
↣ Equatorial Ascendant in Capricorn - 13°48'
Influences in houses
↣ Sun in house 5
↣ Moon in house 4
↣ Mercury in house 4
↣ Venus in house 4/5
↣ Mars in house 11
↣ Jupiter in house 5
↣ Saturn in house 2/3
↣ Uranus in house 1
↣ Neptune in house 7
↣ Pluto in house 7
↣ North Node in house 9
↣ Ascendant in house 1
↣ Midheaven in house 10
Aspects
↣ Sun and Venus conjunction (7°07' separating)
↣ Sun and Mars opposition (9°09' applying)
↣ Sun and Jupiter conjunction (1°44' applying) parallel
↣ Sun and Neptune sextile (4°52' separating)
↣ Sun and Pluto parallel
↣ Sun and North Node trine (3°21' separating)
↣ Sun and Equatorial Ascendant trine (2°59' separating)
↣ Moon and Neptune square (4°36' separating)
↣ Moon and Equatorial Ascendant square (3°15' separating)
↣ Moon and Ascendant trine (3°14' separating)
↣ Moon and Midheaven opposition (5°44' separating)
↣ Mercury and Venus conjunction (5°23' applying)
↣ Mercury and Saturn sextile (3°08' separating)
↣ Mercury and Uranus trine (5°43' separating)
↣ Venus and Mars antiparallel
↣ Venus and Jupiter conjunction (8°51' separating)
↣ Venus and Saturn sextile (2°15' applying)
↣ Venus and Uranus trine (0°20' separating)
↣ Venus and Neptune sextile (2°15' separating)
↣ Venus and North Node trine (3°46' separating)
↣ Mars and Jupiter opposition (7°25' applying)
↣ Jupiter and Pluto parallel
↣ Jupiter and North Node trine (5°05' separating)
↣ Jupiter and Equatorial Ascendant trine (1°15' separating)
↣ Saturn and Uranus sextile (2°35' applying)
↣ Saturn and Neptune trine (4°30' applying)
↣ Saturn and North Node opposition (6°02' applying)
↣ Uranus and Neptune opposition (1°55' separating)
↣ Uranus and North Node trine (3°27' applying)
↣ Uranus and Equatorial Ascendant conjunction (9°47' separating)
↣ Neptune and North Node sextile (1°31' applying)
↣ Neptune and Equatorial Ascendant opposition (7°51' separating)
↣ Neptune and Ascendant antiparallel
↣ Pluto and Ascendant opposition (6°30' applying)
↣ Pluto and Midheaven trine (4°01' applying)
↣ North Node and Equatorial Ascendant trine (6°20' separating)
↣ North Node and Ascendant square (6°19' separating)
Birth data
- Original name
- Hermann Julius Kosterlitz
- Chart date
- 01/05/1905
- Chart time
- 22:30
- Date and time quality
- AA Birth record in hand what does this mean?
- Data origin
- Astro-Databank
- Location
-
Berlin, Germany - Latitude and longitude
- 52°29' North · 13°21' East
- Time zone
- 01:00 East
The data used to calculate the charts comes from public sources, as do the descriptive texts. We use sources such as Wikipedia.
About
Henry Koster (born Hermann Julius Kosterlitz) was a German-American filmmaker who made his mark in Hollywood directing comedies, musicals and period dramas. He began his career in Germany and, facing rising antisemitism, emigrated across Europe before settling in the United States in 1936, when he was hired by Universal. Though he did not master English on arrival, he scored commercial hits such as Three Smart Girls and One Hundred Men and a Girl, establishing himself as a reliable craftsman of family films and musicals in the 1930s and 1940s.
Over the course of his career he directed stars including Betty Grable, Marlon Brando, Bette Davis, Ava Gardner and Richard Burton, the latter in My Cousin Rachel and The Robe, the latter notable as the first film shot in CinemaScope. He received an Academy Award nomination for The Bishop’s Wife (1947) and contributed to projects that led to acting nominations for several performers under his direction.
In his later years he returned to comedies and musicals, with films such as Flower Drum Song (1961) and The Singing Nun (1965), his final feature. Retired in California, he devoted himself to painting, producing portraits of actors he had worked with, leaving a legacy as a versatile filmmaker who moved between popular entertainment and prestige productions.
