Robert Downey Sr.
| Robert Downey Sr. | |
|---|---|
| Born |
Robert John Elias Jr. June 24, 1936 New York City, New York, U.S. |
| Occupation | Actor, filmmaker |
| Years active | 1953–2013 |
| Spouse(s) |
Elsie Ann Ford (m. 1962; div. 1975) Laura Ernst (m. 1991; d. 1994) Rosemary Rogers (m. 1998) |
| Children | Allyson Downey Robert Downey Jr. |
Robert John Downey Sr. (né Robert Elias Jr.; June 24, 1936) is an American actor and filmmaker, and the father of actor Robert Downey Jr. He is best known as an underground filmmaker, serving as director and/or writer of such cult classics as Putney Swope, a satire on the New York Madison Avenue advertising world. According to film scholar Wheeler Winston Dixon, Downey's films during the 1960s were "strictly take-no-prisoners affairs, with minimal budgets and outrageous satire, effectively pushing forward the countercultural agenda of the day."
Downey was born in New York City, the son of Elizabeth (née McLauchlen), a model, and Robert Elias Sr., who worked in management of motels and restaurants. His paternal grandparents were Lithuanian Jews, while his mother was of Irish descent Downey was born Robert Elias; but he changed his last name to Downey for his stepfather, James Downey, when he wanted to enlist in the United States Army but was underage at the time.
Downey has been married three times. His first marriage was to actress Elsie Ann Downey (née Ford), with whom he had two children: actress-writer Allyson Downey and actor Robert Downey Jr. The marriage ended in divorce in 1978. His second marriage, to actress-writer Laura Ernst, ended with her 1994 death from Lou Gehrig's disease. In 1998 he married his third wife, Rosemary Rogers, author of Random House bestseller, Saints Preserve Us! and seven other books. They live in New York City.
Robert Downey Sr. initially made his mark creating basement budget, independent films aligning with the Absurdist movement, coming of age in counterculture anti-establishment 1960s America. His work in the late 1960s and 70s was quintessential anti-establishment, reflecting the nonconformity popularized by larger counterculture movements and given impetus by new freedoms in filmmaking, such as the breakdown of Codes on censorship. In keeping with the underground tradition, his 1960s films were independently made on shoestring budgets and were relatively obscure in the Absurdist movement, finding cult notoriety.
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