Miloš Milošević “Milos Milos”

Miloš Milošević, who used the screen name Milos Milos, lived a short life that crossed several worlds: postwar Belgrade street culture, Alain Delon's entourage, Hollywood stunt work and acting, and finally a sensational murder-suicide in Los Angeles. His story is also the prelude to the later Stevan Marković affair in France.

From Knjaževac to Belgrade

Milošević was born in 1941 in Knjaževac. He later moved to Belgrade, where accounts place him in the same street-fighting social circle as Stevan Marković. Both young men would eventually leave Yugoslavia and find themselves close to one of Europe's biggest film stars.

The mythology surrounding them should not obscure that Milošević also developed a legitimate film career. He worked as a stuntman and actor and appears in two 1966 films released after his death: The Russians Are Coming, the Russians Are Coming and the Esperanto-language horror film Incubus.

Alain Delon connection

During the early 1960s, Milošević met Alain Delon while the French actor was connected to a film production in Yugoslavia. Delon employed him as a bodyguard and stunt double. Milošević later moved through Paris and eventually to the United States.

His connection to Delon is important because Milošević later helped bring Stevan Marković into Delon's orbit. When Marković was murdered in 1968, Milošević's own violent death was repeatedly revisited by journalists looking for patterns around Delon's associates.

Hollywood

In California, Milošević pursued acting under the name Milos Milos. His physical presence made him suitable for intense screen roles, and his brief filmography has given him a cult afterlife independent of the crime story.

That career ended before audiences could see where it might lead.

Death of Barbara Ann Thomason and Milošević

On 30 January 1966, Milošević and Barbara Ann Thomason, the estranged wife of actor Mickey Rooney, were found dead in Los Angeles. The official finding was that Milošević shot Thomason and then killed himself.

Later gossip and conspiracy stories questioned that conclusion, particularly after Marković's murder two years later. Those theories are part of the cultural history of the case but should not be presented as established evidence. The profile should give priority to the official investigative conclusion unless stronger primary-source material demonstrates otherwise.

Connection to the Marković affair

Milošević's death became retrospectively attached to the Marković scandal because both men were Yugoslavs who had worked around Delon and both died by gunfire at young ages. The two cases were legally separate, but journalists repeatedly linked them in narratives about Delon's proximity to criminal figures.

Why the profile belongs on the archive

Milošević expands the site beyond conventional gang biographies. He connects Yugoslav street culture to European cinema and Hollywood, while his death sits at the intersection of celebrity, homicide and conspiracy culture. His page should therefore link both to crime entities and to the site's Screen layer.

Cross-links

Connect to Stevan Marković, Marković Affair, Alain Delon as a contextual actor page, and Screen pages for Incubus and The Russians Are Coming, the Russians Are Coming if those films are added to the database.