Camilla Carr, a Texas-born actress who became a cult favorite in 1970s horror films and delivered one of television’s most talked‑about sitcom performances, died Wednesday, February 4, 2026, in El Paso, Texas, due to complications from Alzheimer’s disease and a dislocated hip. She was 83.
Her son, writer, poet, and artist Caley O’Dwyer, confirmed her passing.
Born on September 17, 1942, in Memphis, Texas, Carr developed a distinctive presence in American independent filmmaking through her work with exploitation director S.F. Brownrigg. Her performances in his low‑budget horror features revealed a knack for depicting psychological breakdown with unsettling realism, cementing her status in cult cinema.
Carr gained prominence with her role in the 1973 film “Don’t Look in the Basement,” portraying a disturbed patient who murders a nurse. Set in a remote psychiatric hospital, the movie became a defining entry in 1970s exploitation horror. She later reunited with Brownrigg for 1974’s “Poor White Trash Part II,” later known among fans as “Scum of the Earth.”
Her most acclaimed horror role was in 1977’s “Keep My Grave Open,” in which she played a woman plagued by a homicidal second personality. The film’s psychological depth highlighted Carr’s dedication to her craft despite the limitations of its budget.
Brownrigg’s productions were famously frugal, yet they attracted loyal followers for their eerie atmospheres and willingness to delve into dark psychological themes. His resourceful filmmaking earned respect in exploitation circles, with Carr emerging as one of his standout performers.
Years after their early collaborations, Carr returned from retirement in 2015 to act in “Don’t Look in the Basement 2,” directed by Anthony Brownrigg, the son of the original filmmaker. The sequel continued the narrative of the first film while serving as a tribute to the cult classic that launched Carr’s horror career.
Outside the horror genre, Carr also secured roles in mainstream productions, including the 1976 sci‑fi favorite “Logan’s Run” and the 1970 crime drama “A Bullet for Pretty Boy.”
On television, she appeared in 34 episodes of the soap opera “Another World” as Rita Connelly and made guest appearances on “One Day at a Time.” In 1988, she portrayed housekeeper and busybody Nellie Maxwell in three episodes of CBS’s prime‑time series “Falcon Crest.”
Carr’s most notable TV moment came in October 1987 with her appearance in the “Designing Women” episode “They’re Killing All the Right People.” Playing Mrs. Imogene Salinger, a Sugarbaker client expressing controversial views about AIDS, she delivered a performance that sparked nationwide discussion during the height of the epidemic.
In the episode, her character overhears plans for a funeral for a young designer, portrayed by Tony Goldwyn, who is dying from AIDS. Her role reflects the prejudice faced by many AIDS patients during that era.
The script was written by series creator Linda Bloodworth Thomason, who based it on personal tragedy—her mother had recently died after contracting AIDS from a blood transfusion. The episode earned Bloodworth Thomason an Emmy nomination.
Reflecting on his mother’s contentious role, O’Dwyer told reporters: “It was a ***** character, but she did a great job for an important cause.”
On stage, Carr demonstrated wide versatility. She played Maxine in Tennessee Williams’ “The Night of the Iguana” in 1991 at the Los Angeles Theatre Center, one of several productions she appeared in at the venue. Her stage career began in Texas, where she attended Kermit High School and the University of North Texas before turning to professional acting.
She met her first husband, Hugh Feagin, when both were actors at Theatre Three in Dallas. The pair acted together in several films, including “A Bullet for Pretty Boy,” “Don’t Look in the Basement,” and “Poor White Trash Part II,” before divorcing.
Carr later wed Oscar‑winning screenwriter Edward Anhalt. Their marriage ended in 1976.
Beyond acting, Carr also wrote, producing telefilms and penning the 1989 comic novel “Topsy Turvy Dingo Dog.” The book drew inspiration from her experiences navigating both low‑budget cinema and mainstream entertainment, offering humorous observations about the industry.
Over more than forty years in the arts, Carr moved seamlessly between exploitation films, network television, stage productions, and literary work. Her readiness to embrace difficult or provocative roles marked her as a performer willing to challenge expectations.
The horror films that earned her cult status continue to appeal to new viewers through streaming services and repertory screenings. “Don’t Look in the Basement” remains a favorite among exploitation fans, while “Keep My Grave Open” is increasingly recognized for its psychological depth despite its limited budget.
Her “Designing Women” role endures as an important example of 1980s television confronting the AIDS crisis. At a time when many networks avoided the topic, the show’s direct engagement with prejudice marked meaningful cultural progress, and Carr’s portrayal of intolerance provided critical dramatic tension for its message of empathy.
Throughout her career, Carr displayed the versatility and dedication characteristic of exceptional character actors. Whether exploring psychological turmoil in low‑budget horror, portraying bias on prime‑time TV, or bringing complex roles to the stage, she consistently approached her work with professionalism. Her contributions to S.F. Brownrigg’s films helped define a distinct style in independent American horror, while her mainstream appearances expanded her audience.
Carr is survived by her son, Caley O’Dwyer, who continues his own creative pursuits as a writer, poet, and painter.
