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Timothy Agoglia Carey (March 11, 1929 – May 11, 1994) was an American film and television character actor[1] who was typically cast as manic or violent characters who are driven to extremes. He is particularly known for his collaborations with Stanley Kubrick in the films The Killing (1956) and Paths of Glory (1957), and for appearing in the two John Cassavetes directed films Minnie and Moskowitz (1971) and The Killing of a Chinese Bookie (1976). Other notable film credits include Crime Wave (1954), East of Eden (1955), One-Eyed Jacks (1961), Beach Blanket Bingo (1965), Head (1968) and The Outfit (1973).

Key Information

Carey was also a writer and director, with the low budget independent film The World's Greatest Sinner (1962) being his most noteworthy project.

Early life and career

[edit]

Carey enlisted in the U.S. Marine Corps during World War II at age 15, an experience he despised.[2][3] He made his screen debut with a minor role in Billy Wilder's 1951 movie Ace in the Hole (alternately titled The Big Carnival). One of Carey's most recognized early roles is in the 1956 Stanley Kubrick film The Killing,[1] in which he portrays a gunman hired to shoot a racehorse as a diversion from a racetrack robbery. Kubrick then cast him in his next film, the World War I drama Paths of Glory (1957),[1] as one of three soldiers accused of cowardice.

During the filming of Paths of Glory, Carey was reportedly disruptive and tried to draw more attention to his character. Due to this behavior, a scene in which Carey and the other actors were served a duck dinner as a final meal before execution, took 57 takes to complete. Carey then faked his own kidnapping to generate personal publicity, which prompted Kubrick and producer James B. Harris to fire him. As a result, the film does not depict the three condemned soldiers during the battle scene, and a double was used during a scene in which a priest hears Carey's character's confession. The scene was filmed with the double's back to the camera.[4]

The 1957 film Bayou (later retitled Poor White Trash) features one of Carey's few leading roles, as a demented Cajun shopkeeper named Ulysses. Carey also has roles in East of Eden, The Wild One, One-Eyed Jacks,[1] The Boy and the Pirates, Bikini Beach, Beach Blanket Bingo[1] and the John Cassavetes–directed films Minnie and Moskowitz and The Killing of a Chinese Bookie.[1]

Francis Ford Coppola was eager to cast Carey as Luca Brasi in The Godfather, but Carey turned down the part so he could film a television pilot called "Tweet’s Ladies of Pasadena", which was never sold or broadcast.[5] The proposed TV show starred Carey as a character named Tweet Twig, who could bring animals back from the dead.[6]

He plays a minor role as the Angel of Death in the comedy film D.C. Cab, and appears in the Monkees self-parody musical comedy Head. His final appearance is in the 1986 movie Echo Park. Carey also did a select amount of acting on television from the 1950s through the 1980s.

According to director Quentin Tarantino, Carey auditioned for the role of Joe Cabot in Tarantino's Reservoir Dogs. Although Carey did not get the role, the screenplay is dedicated to him, among others.[7]

Carey's face (from the movie The Killing) is positioned behind George Harrison on the cover of the Beatles album Sgt. Pepper's Lonely Hearts Club Band. Although Carey's image does not appear on the commercially released version of the cover, it can be seen on outtake photos from the Sgt. Pepper session.[8]

Carey first appeared on Gunsmoke in 1958, playing “Tiller Evans”, a wild, abusive & jealous cowboy in the episode “The Gentleman”, alongside Jack Cassidy (S3E39). He later portrayed the character Charles Buster Rilla, a deranged gunman, in the 1966 episode “Quaker Girl” (S12E12). He has a minor role as Bert in "Ransom for a Dead Man", a pilot for the series Columbo, which guest-stars Lee Grant and originally aired on March 1, 1971. Carey reprised that role in the Columbo episode "Dead Weight", which guest-stars Eddie Albert and Suzanne Pleshette and was first broadcast on October 27, 1971.

The World's Greatest Sinner

[edit]

Carey wrote, produced, directed, and starred in the 1962 feature The World's Greatest Sinner, whose music soundtrack was scored by a young, pre-Mothers of Invention Frank Zappa.[1] Although it did not have wide commercial release, the film achieved cult status through repeated screenings at the "midnight movies" in Los Angeles in the 1960s. During a 1963 appearance on The Steve Allen Show during which he generated musical sounds on bicycles, Zappa talked about scoring the soundtrack for The World's Greatest Sinner, which he called "the world's worst movie."[9]

The movie was featured as a midnight show at the Turner Classic Movies Festival in Hollywood in April 2018. His son, Romeo Carey, a journalism instructor, now retired,[10] for Beverly Hills High School's KBEV Channel 6 TV, introduced the film.

Personal life

[edit]

Carey was born in Bay Ridge, Brooklyn, to a family of Italian and Irish descent.[11]

Carey and his wife Doris had six children: Romeo,[10][12][13] Mario, Velencia, Silvana, Dagmar, and Germain.

Carey died of a stroke in 1994 at the age of 65 in Los Angeles.[1][14] His body is interred at Rose Hills Memorial Park in Whittier, California.

Partial filmography

[edit]

References

[edit]
[edit]
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Timothy Carey

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Timothy Agoglia Carey (March 11, 1929 – May 11, 1994) was an American film and television character actor best known for his intense portrayals of menacing villains, psychotic outcasts, and eccentric oddballs across more than four decades of work. Born in Brooklyn, New York, to an Irish-Italian family, Carey trained at acting school in the city before moving to Hollywood in the early 1950s, where he made his screen debut in a small uncredited role in the 1951 Western Across the Wide Missouri. His breakthrough came with supporting parts in landmark films, including the thuggish Joe in Elia Kazan's East of Eden (1955), the feral assassin Nikki Arcane in Stanley Kubrick's The Killing (1956), and the doomed soldier Maurice Ferol in Kubrick's anti-war drama Paths of Glory (1957). Carey's career encompassed nearly 50 films and numerous television appearances, often typecast as loathsome heavies due to his distinctive gravelly voice, steely gaze, and unpredictable intensity, which drew comparisons to a "New Yawkese on horse tranquilizers." He collaborated with directors like on (1961), where he played the sadistic Howard Tetley, and on (1971) and The Killing of a Chinese Bookie (1976), bringing raw, Method-influenced authenticity to his roles. Beyond acting, Carey wrote, directed, produced, and starred in the experimental feature (1962), a low-budget about a door-to-door salesman who becomes a messianic leader, scored by a young ; he also helmed the unproduced TV pilot Tweet's Ladies of Pasadena. His off-screen eccentricities, including a belief in the health benefits of that he demonstrated publicly, sometimes alienated collaborators and limited mainstream opportunities, though they cemented his status among cinephiles. Carey died of a at age 65 in , survived by his son Romeo, leaving a legacy as a fearless, boundary-pushing performer whose work continues to influence independent cinema.

Early life

Upbringing and family background

Timothy Agoglia Carey was born on March 11, 1929, in the Bay Ridge section of , New York, to parents of mixed Irish and Italian descent. His father, Joseph Aloysius Carey (1888–1956), was second-generation Irish, while his mother, Ida F. Agoglia (1899–1960), was of Italian heritage, reflecting the immigrant influences prevalent in early 20th-century . The family resided in a working-class household amid Bay Ridge's diverse urban landscape, characterized by a blend of ethnic communities including Irish, Italian, and others, which fostered a lively but often gritty environment for children growing up during the . Carey was one of four children born to his parents, including an older brother, Joseph A. Carey Jr. (1926–1943), whose early death at age 17 from undisclosed causes left a mark on the family. This multicultural upbringing, steeped in the traditions of Irish and Italian-American households, exposed Carey to a rich tapestry of , , and community interactions that subtly influenced his later expressive tendencies. Bay Ridge's street culture, with its mix of neighborhood games and local events, provided the backdrop for his formative years, instilling resilience amid economic hardships. As a , Carey displayed early signs of an unconventional personality through youthful mischief and physical pursuits; in his late teens, he auditioned for a local team but, upon not making the cut, turned to a local club to channel his energy. These experiences in Brooklyn's vibrant yet demanding setting laid the groundwork for his transition to as a teenager.

Military service and education

At the age of 15, during , Timothy Carey enlisted in the U.S. Marine Corps using his older brother's to bypass age restrictions, serving around 1944 in the midst of the global conflict. This early enlistment exposed him to intense military discipline, including brutal physical training and peer ; Carey later recounted being beaten severely by fellow recruits and a with a , resulting in knee injuries that required hospitalization. He profoundly despised the experience, viewing it as oppressive and dehumanizing, which profoundly shaped his worldview by fostering a deep-seated toward and regimentation. Following his discharge after the , Carey channeled his energies into formal training, enrolling in an acting school in where he honed his craft through intensive study and performance exercises. This period marked a pivotal shift from military rigidity to creative expression, allowing him to explore roles that aligned with his emerging nonconformist tendencies. The contrast between the ' hierarchical structure and the improvisational freedom of acting education amplified Carey's inherent rebelliousness, setting the stage for his unpredictable persona in professional environments without delving into specific career entries.

Acting career

Early roles and breakthrough

Timothy Carey made his film debut in the 1951 Western Across the Wide Missouri, directed by , where he appeared uncredited as Baptiste DuNord, a French trapper who meets a violent end off-screen. Later that year, he secured a minor uncredited role as a in Billy Wilder's Ace in the Hole (also known as The Big Carnival), portraying a thug-like figure amid the film's satirical take on media ; Carey reportedly obtained the part through persistent efforts while the production filmed in . In 1953, Carey appeared uncredited as a member of the rival motorcycle gang led by Lee Marvin's character Chino in The Wild One, directed by László Benedek, where he notably shook up a beer bottle and sprayed the foam at Marlon Brando's protagonist during a tense confrontation, contributing to the film's iconic depiction of biker rebellion. By 1955, he earned his first significant notice with the role of Joe, the menacing bordello bouncer and henchman in Elia Kazan's East of Eden, an uncredited but memorable performance in which he roughly ejects James Dean's character Cal from the establishment run by Jo Van Fleet's Kate; the part highlighted Carey's ability to embody quiet intimidation. His acting training provided a foundation for these early portrayals of tough, peripheral figures. Carey's distinctive physical presence—standing at 6 feet 4 inches with a lanky build, intense gaze, and unconventional mannerisms—quickly led to as menacing or eccentric heavies, often in supporting or uncredited capacities that showcased his brooding intensity rather than leading-man appeal. This niche, while establishing his reputation as a go-to for villainous or oddball roles, presented challenges in securing steady work, as his imposing stature and idiosyncratic style intimidated some directors and limited him to sporadic opportunities in the competitive Hollywood landscape of the early . Between 1951 and 1956, he accumulated around a dozen credits, many uncredited, including parts in Crime Wave (1954) as a thug and The Steel Cage (1954) as a , which gradually built his portfolio despite the inconsistencies.

Major collaborations and notable films

Timothy Carey's collaborations with acclaimed directors in the late 1950s and 1960s established him as a go-to character actor for intense, offbeat roles in landmark films. His early appearances in smaller parts during the 1950s had positioned him for these opportunities, showcasing his ability to embody unpredictable menace. One of his breakthrough collaborations came with director Stanley Kubrick in the 1956 heist thriller The Killing, where Carey portrayed Nikki Arcane, a paranoid hitman tasked with creating a diversion at a racetrack. Arcane's jittery demeanor and explosive paranoia culminate in a botched assassination attempt, adding a layer of chaotic tension to the film's intricate narrative. Carey's performance, marked by wide-eyed suspicion and erratic outbursts, exemplified his knack for turning minor roles into memorable studies of psychological unraveling. Carey reunited with Kubrick the following year in the anti-war drama (1957), playing Private Maurice Ferol, a hapless soldier facing a sham for cowardice during . Ferol's wide-eyed terror and resigned fatalism provided a poignant to the film's critique of military injustice. However, Carey's time on set was tumultuous; his disruptive behavior, including repeated flubs that halted production, led to his temporary firing by Kubrick. To drum up publicity, Carey later staged his own , claiming threats from extras upset over his improvisations, which further strained relations but highlighted his penchant for blurring performance and reality. In 1961, Carey appeared in Marlon Brando's directorial debut , a sprawling Western where he played Howard Tetley, a member of a posse involved in a brutal pursuit. Tetley's cold brutality and sudden demise in a underscored Carey's talent for infusing supporting characters with raw, unhinged energy. This role further demonstrated his improvisational flair, often pushing scripted boundaries to heighten dramatic intensity. Carey's partnership with independent filmmaker John Cassavetes yielded two standout roles in the 1970s. In Minnie and Moskowitz (1971), he portrayed Morgan Morgan, a eccentric homeless man whose manic ramblings inject surreal humor into the film's exploration of unlikely romance. Morgan's wild, disjointed monologues reflect Carey's signature style of unscripted intensity, transforming a peripheral figure into a vivid embodiment of societal fringes. Later, in Cassavetes' The Killing of a Chinese Bookie (1976), Carey played Joe, a sleazy pimp who serves as a volatile informant in the underworld dealings of protagonist Cosmo Vitelli. Joe's predatory aggression and unpredictable volatility amplify the film's gritty portrait of low-level crime, with Carey's preparation—immersing himself in seedy environments—lending authenticity to the character's menacing volatility. Another notable collaboration occurred in the psychedelic satire Head (1968), co-written by and starring , where Carey appeared as Lord High 'n' Low, a tyrannical thug leading a band of desert outlaws. In a surreal sequence, his character and his cohorts are comically obliterated by a cannon, showcasing Carey's ability to blend menace with absurdity in the film's anarchic of vignettes. This role highlighted his versatility in countercultural projects, where his imposing physicality and improvisational edge fit seamlessly into the experimental tone. Carey was offered the role of , the hulking enforcer, in Francis Ford Coppola's (1972), but declined due to commitments for a television pilot called Tweet's Ladies of Pasadena, prioritizing the opportunity over potential as another stereotypical heavy. Throughout these films, Carey's style—characterized by manic energy, physical exaggeration, and bold —often disrupted conventional narratives, making his characters unforgettable agents of chaos and earning praise for their raw, unpolished authenticity.

Later roles and television work

In the 1980s, Carey's film appearances became increasingly sparse, reflecting a career marked by in eccentric or villainous roles that limited mainstream opportunities. He portrayed a in the prison Fast Walking (1982), directed by , and appeared as a scientist in the horror sequel It's Alive III: Island of the Alive (1982). Other credits included a minor role in the comedy D.C. Cab (1983) and the thriller Access Code (1984), where he played a shadowy operative. Carey's final on-screen role came as the abrasive landlord Vinnie in the independent drama (1986), directed by Robert Dornhelm, a film that captured the gritty underbelly of Los Angeles life. This appearance marked the end of his sporadic cinematic output, as health issues, including a fatal stroke in 1994, further curtailed his work. Throughout the , Carey supplemented his film work with television guest spots, building on over 20 credits accumulated since the 1950s in Westerns and crime dramas. Notable later appearances included the reclusive Slowboy in the pilot Nightside (1980) and a menacing figure in the action series (1984). These roles often echoed his earlier portrayals of unstable characters, such as in episodes of and from prior decades, but adapted to episodic formats. In his later years, Carey shifted focus to mentorship, conducting acting workshops at his Frenzy Films studio in during the and . He developed and taught "The Ultimate Method," a personalized approach emphasizing and emotional authenticity, which he claimed influenced peers like and . This teaching provided a creative outlet amid professional challenges, including persistent as "psychotics" and a reputation for unpredictable behavior that had long alienated directors.

Directorial work

The World's Greatest Sinner

Timothy Carey wrote, produced, directed, and starred in , a low-budget completed in 1962 after several years of intermittent shooting. Self-financing the project with personal funds and small contributions, Carey shot the film primarily in and around on a shoestring budget, utilizing non-professional actors and guerrilla-style techniques to capture its raw, unpolished aesthetic. The plot centers on Clarence Hilliard (played by Carey), a disillusioned suburban insurance salesman and family man who abandons his mundane life to pursue fame as a rock 'n' roll singer and charismatic orator. Adopting the persona of a messianic figure, Hilliard preaches a gospel of atheism, hedonism, and self-indulgence, amassing a devoted cult following through fiery sermons and seductive performances that blend music, philosophy, and provocation; his rise culminates in political ambition and moral decay, leading to a tragic downfall marked by assassination. Key cast members included Gil Barreto as Hilliard's associate, Betty Rowland as his wife, and in a supporting role, with many performers drawn from Carey's personal network due to the production's limited resources. , featuring rock-infused compositions and performances, was created by a then-obscure 21-year-old , who composed the score and led an unnamed 8-piece rock group that appeared on-screen as musicians; Zappa's contributions included songs like the theme "As a Sinner He's a Winner," infusing the film with an musical edge that foreshadowed his later career. Production faced significant challenges, including erratic scheduling that stretched filming from 1958 to 1961, technical limitations, and Carey's perfectionist demands, which strained the already minimal crew. Post-completion, the film encountered distributor resistance due to its provocative content—depicting , , and anti-religious rhetoric—which was viewed as too incendiary for mainstream release; after a limited premiere in Hollywood in 1963, it received virtually no theatrical distribution, languishing in obscurity for decades with only sporadic underground screenings. Thematically, The World's Greatest Sinner satirizes organized religion and explores existential themes of alienation, power, and human frailty, mirroring Carey's own iconoclastic worldview shaped by his experiences as a character actor often typecast in villainous roles. Its hedonistic preachings and critique of blind faith position it as a bold, if amateurish, indictment of societal norms, emphasizing personal liberation over moral conformity. In recent years, the film has undergone restoration efforts, with a new digital version completed by the Carey family and film preservationists, premiering at the 2018 Film Festival and later at the in 2022; it has since screened at venues including and Il Cinema Ritrovato Festival in 2023, and is available for streaming on The Criterion Channel as of 2023, introducing it to new audiences and cementing its status as a cult artifact of outsider cinema.

Other creative projects and teaching

Following the success of his debut feature The World's Greatest Sinner, Carey pursued additional directorial endeavors in the late and , though many remained unrealized or limited in scope. One such project was Tweet's Ladies of Pasadena (1979), a 70-minute that Carey wrote, produced, directed, and starred in, originally conceived as a pilot for an unproduced television series. Shot intermittently between 1969 and 1974 with partial funding from director , the absurdist comedy features Carey as Tweet Twig, an eccentric character who joins a women's club and roller-skating group to advocate for clothing naked animals, blending social satire with his signature offbeat humor. Carey also developed several unproduced scripts during this period, showcasing his interest in experimental and boundary-pushing narratives. Among them was The Insect Trainer, a play he had been writing for years, inspired by the real-life performer and centered on a man tried for murder after a fatal incident in a theater; the incorporated elements of theater of the absurd, with non-sequiturs and disruptive stage directions. While unproduced as a or play during Carey's lifetime, a 35mm promotional video was completed in 1994, and a theatrical adaptation directed by his son Romeo premiered in 1996 at the Hollywood Roosevelt Hotel, backed by . In the and , Carey shifted focus toward writing contributions for his roles and mentoring emerging talent through . He occasionally improvised or adapted lines in to suit his idiosyncratic style, such as enhancing villainous characters with unscripted physicality, though specific unmade film scripts beyond The Insect Trainer remain sparsely documented. More prominently, Carey conducted classes at his Frenzy Films studio in , where he developed and taught "The Ultimate Method," a personalized approach emphasizing , emotional extremes, and Stanislavski-influenced depth tailored for character actors seeking unconventional breakthroughs. These sessions, held regularly through the early until his death, attracted aspiring performers interested in method techniques adapted for experimental performance.

Personal life

Marriage and family

Timothy Carey met Doris Erika Radlinger in in 1957 while filming Stanley Kubrick's , where he portrayed the soldier Private Ferol. The couple married in the late 1950s, and their union lasted until Carey's death in 1994. Carey and Doris had six children: Romeo, Mario, Velencia, Silvana, Dagmar, and Germain. The family settled in El Monte, a suburb of , after Carey's move to for acting opportunities, where they raised their children in a modest home environment. Doris, a homemaker and occasional actress, supported the household amid Carey's irregular schedule from low-budget film and theater work. Doris appeared in supporting roles in two of her husband's directorial projects: as a nightclub patron in The World's Greatest Sinner (1962) and in the pilot episode of Tweet's Ladies of Pasadena (c. 1970). Their eldest son, Romeo Carey (born 1966), followed in his father's creative footsteps as a filmmaker and actor, collaborating on projects that highlighted Timothy's unconventional career. The Carey family maintained close ties. Doris died on June 7, 2017, from a heart attack at age 77, and was buried alongside Timothy at Rose Hills Memorial Park.

Death

Timothy Carey suffered a sudden massive at his home in on May 11, 1994, at the age of 65, and was hospitalized at , where he died later that day. His son, Romeo Carey, announced the death shortly afterward, confirming the cause as a with no prior indications of severe health decline reported. Public obituaries in and emphasized Carey's long career as a heavy-eyed , portraying villains in films like and , and noted his cult following for his intense, unconventional performances in both mainstream and beach movies. These tributes from his family and the press underscored his enduring reputation as a one-of-a-kind talent in Hollywood, despite his often disruptive on-set behavior. A funeral service was held for Carey on May 18, 1994, at in , where he was subsequently buried. His came amid his continued teaching of through his self-developed "Ultimate Method" at his family's studio, leaving those efforts unfinished.

Legacy

Critical reception and acting style

Timothy Carey's style was marked by manic intensity, improvisational flair, and a penchant for portraying unhinged villains or eccentrics, often stealing scenes through his physical presence and unpredictable energy. Standing at 6'4" with heavy-lidded eyes and a habit of through clenched teeth, he infused roles with a raw, pathological edge that conveyed real danger, even in minor parts. His performances delivered mixed signals—blending menace with subtle vulnerability—that elevated psycho characters beyond stereotypes, as seen in his work as Pvt. Maurice Ferol, one of the soldiers facing execution, in (1957). Contemporary reviews from the 1950s through the 1970s lauded his authenticity, particularly in collaborations with Stanley Kubrick and John Cassavetes, while acknowledging typecasting as a persistent limitation. In Kubrick's The Killing (1956) and Paths of Glory, critics like producer James B. Harris praised Carey for dominating scenes with "cockeyed grace," making his brief appearances unforgettable. Cassavetes, who cast him in Minnie and Moskowitz (1971) and The Killing of a Chinese Bookie (1976), described Carey as "my hero" for his genuine emotional depth and genius, though some noted his eccentricity sometimes embarrassed collaborators, such as during on-set flatulence incidents. Reviewers often highlighted how typecasting confined him to loathsome genre heavies, restricting broader opportunities despite his scene-stealing prowess. His style drew comparisons to fellow maverick character actors like Jack Elam and Neville Brand, who similarly thrived on the margins with camera-loving intensity. Carey's on-set reputation stemmed from his method immersion and boundary-pushing antics, which frequently led to conflicts and dismissals. A notorious example occurred during 's shoot, where he faked his own to drum up personal publicity, prompting Kubrick and Harris to fire him mid-production for disrupting the schedule. He was also dismissed by from Ace in the Hole (1951) and by , later claiming to have been fired more often than any other Hollywood actor due to his insistence on improvisational "little bits" and clashes with stars, including spraying beer on and enduring physical retaliation from Brando and during (1961). These incidents underscored his commitment to authenticity over conformity. Across a career encompassing over 100 film and television roles from the 1950s to the 1980s, Carey remained underappreciated in mainstream circles, largely because his work centered on independent and productions rather than blockbuster fare. Critics recognized his high-impact contributions to cinema but lamented how his eccentric and marginalized his talent, confining him to outsider status despite praise from like Kubrick and Cassavetes.

Posthumous recognition and influence

Following his death in 1994, Timothy Carey's work experienced a resurgence through retrospectives and archival screenings that highlighted his unconventional contributions to cinema. In 2010, in New York hosted the retrospective "Agog: The World of Timothy Carey," featuring rare screenings of his directorial efforts like (1962) and the unfinished pilot Tweet's Ladies of Pasadena (1968–1982), drawing attention to his surreal, improvisational style. This event was covered in , which praised Carey's "genuinely off-kilter presence" and his influence on cult filmmakers. Home video releases further aided rediscovery; became available on DVD via in the early 2000s and later streamed on platforms like in the 2020s, making his films accessible to new audiences. A restored version premiered at the in 2022, restored by the and the Carey family, spotlighting the film's early score and satirical take on . This restoration screened in a revival run at in 2023. Carey's cult status grew in the 2010s and through articles and online discussions that celebrated his boundary-pushing performances and personal anecdotes. A 2020 profile described him as a "genius" whose legend continues to expand, emphasizing his maximum integrity and zero boundaries in art. Screenings underscored this revival, including a 2018 midnight presentation of at the TCM Classic Film Festival in Hollywood, introduced by his son Carey. Carey's influence extends to subsequent generations of filmmakers and actors drawn to his anti-hero portrayals and eccentric energy. He was admired by directors like and , who considered casting him in (1992) and cited his impact on character-driven indie cinema. Musician and actor has called Carey his hero, reflecting the actor's appeal to artists. Echoes of Carey's manic, unpredictable roles appear in the work of performers like and , who embody similar outsider intensity in indie films. His collaboration with Zappa on has attracted scholarly interest for its satirical themes of and , analyzed in studies of Zappa's early compositional techniques. Online communities on film forums and social platforms have fostered a dedicated fandom, often sharing stories of Carey's wild life to amplify his posthumous mystique. Fan events, including Q&As and documentary shorts produced by his family, continue to explore his legacy at festivals. Carey's lifetime eccentricities, such as his fascination with flatulence and improvisation, have only heightened this enduring appeal.

Filmography

Film roles

Timothy Carey appeared in over 50 feature films across five decades, often cast in minor, uncredited, or supporting roles as thugs, gang members, or other menacing figures. His work frequently involved collaborations with notable directors, though many parts were small and he was sometimes fired from productions due to his intense style. The following table lists selected film roles chronologically, highlighting key appearances:
YearTitleRole
1951Across the Wide MissouriUncredited
1951Ace in the HoleThug (uncredited)
1953The Wild OneGang member
1955East of EdenJoe
1956The KillingNikki Arcane
1957BayouUlysses
1957Paths of GloryPvt. Maurice Ferol
1961One-Eyed JacksHoward Tetley
1962The World's Greatest SinnerClarence Hilliard (also director)
1968HeadLord
1971Minnie and MoskowitzSeymour Moskowitz
1976The Killing of a Chinese BookieFlo
1986Echo ParkVinnie

Television appearances

Timothy Carey frequently appeared as a guest star on television programs spanning the 1950s to the 1980s, accumulating over 20 credits where he typically embodied menacing outlaws, criminals, or quirky supporting figures in westerns, crime procedurals, and . His roles often mirrored the intense, offbeat persona he brought to films, adapting to episodic formats that highlighted his distinctive physical presence and improvisational style. While he had no recurring characters, Carey played Bert, the chili stand owner, in two early episodes of and appeared in another as Tony. The following table catalogs select verified television appearances in chronological order, focusing on key guest spots:
YearSeriesEpisodeRoleNotes
1955The 20th Century-Fox HourUntitled episodeUncreditedAppearance in minor ensemble role in one of the anthology episodes.
1958Gunsmoke"The Gentleman" (S3, E39)Tiller EvansPortrayed a psychotic, jealous cowboy confronting James Arness's Marshal Dillon.
1959The Rifleman"The Safe Guard" (S2, E8)Simon BattleAppeared as a rugged antagonist in this family western.
1960The Untouchables"The Noise of Death" (S2, E7)Nick MosesPlayed a mob enforcer in Robert Stack's Prohibition-era crime drama.
1961Have Gun – Will Travel"The Fatalist" (S4, E38)Sam TarnitzerGuest spot as a tense gunslinger in the Paladin series.
1961The Twilight Zone"The Whole Truth" (S2, E14)Mr. MarmadukeComedic role as a used car salesman forced to tell the truth, opposite Jack Carson.
1965Rawhide"The Book" (S7, E14)Carl HatcherDepicted a shady sharpshooter in this Clint Eastwood-led cattle drive western.
1965Rawhide"Encounter at Boot Hill" (S8, E1)Ed WalkerPortrayed a vengeful gunman seeking justice for lynched drovers.
1966Gunsmoke"Quaker Girl" (S12, E12)Preacher CleggPlayed a villainous preacher alongside Ben Johnson in a tale of mistaken identity.
1971Columbo"Ransom for a Dead Man" (Pilot)BertOwner of Barney's Beanery, serving chili to Peter Falk's detective.
1971Columbo"Dead Weight" (S1, E3)BertReprised the Barney's Beanery owner role amid a murder investigation with Eddie Albert.
1975Kung Fu"Ambush" (S3, E23)Bix CourtneyAntagonistic figure opposite David Carradine in a Wild West swindle plot.
1975Baretta"He'll Never See Daylight" (S1, E1)DominicMobster seeking revenge after a numbers racket bust, in Robert Blake's pilot.
1976Columbo"Fade in to Murder" (S6, E1)TonySuspicious character in a TV studio homicide case involving a detective show star.
1977Charlie's Angels"The Blue Angels" (S1, E23)Unspecified heavyInvolved in a massage parlor extortion plot with the trio.
1977Starsky & Hutch"The Velvet Jungle" (S2, E22)DannySleazy garment district figure in a murder investigation with David Soul and Paul Michael Glaser.
1977Charlie's Angels"Angels on Ice" (S2, E3-4)Arabian Group LeaderMenacing presence in a two-part ice show assassination scheme.
1977Baretta"That Sister Ain't No Cousin" (S3, E14)Heroin dealerDangerous criminal forcing a nun into hiding with Robert Blake's detective.
1981The Greatest American Hero"Fire Man" (S1, E8)CameronRepo man employer in a story of arson accusation and superheroics.
1981East of Eden (Miniseries)VariousThe PreacherSupporting role in the TV adaptation of John Steinbeck's novel.
Carey's television work extended his film reputation for unpredictable intensity, with appearances tapering in the 1980s as he focused on independent projects, though he continued sporadic guest spots until health issues curtailed his career.

References

  1. https://www.latimes.com/archives/la-xpm-1994-05-16-mn-58332-story.html
  2. https://www.filmcomment.com/article/cracked-actor-timothy-carey/
  3. https://www.furiouscinema.com/mad-hell-heroes-timothy-carey-character/
  4. https://www.imdb.com/name/nm0137046/
  5. https://ancestors.familysearch.org/en/K248-HDS/timothy-carey-1929-1994
  6. https://ancestors.familysearch.org/en/G4S8-8LC/joseph-a.-carey-jr.-1926-1943
  7. https://movieweb.com/movies-that-angered-the-pentagon/
  8. https://travsd.wordpress.com/2020/03/11/timothy-carey-a-genius-out-of-both-ends/
  9. https://www.imdb.com/title/tt0043262/fullcredits/
  10. https://www.imdb.com/title/tt0043338/fullcredits/
  11. https://www.themoviedb.org/movie/28696-the-wild-one/cast
  12. https://www.imdb.com/title/tt0048028/fullcredits/
  13. https://catalog.afi.com/Catalog/moviedetails/51490
  14. https://www.imdb.com/name/nm0137046/bio/
  15. https://www.imdb.com/name/nm0137046/?ref_=tt_cl_t1
  16. https://www.imdb.com/title/tt0049406/
  17. https://www.tcm.com/tcmdb/title/17624/the-killing
  18. https://www.imdb.com/title/tt0050825/trivia/
  19. https://collider.com/paths-of-glory-timothy-carey/
  20. https://www.imdb.com/title/tt0055257/
  21. https://www.imdb.com/title/tt0067433/
  22. https://www.imdb.com/title/tt0063049/
  23. https://www.mentalfloss.com/article/607777/the-godfather-part-ii-movie-facts
  24. https://www.imdb.com/title/tt0090994/
  25. https://www.nytimes.com/1994/05/17/obituaries/timothy-carey-65-a-character-actor.html
  26. https://www.romeocarey.com/
  27. https://www.shockcinemamagazine.com/sinner.html
  28. https://thebedlamfiles.com/film/the-worlds-greatest-sinner/
  29. https://catalog.afi.com/Catalog/MovieDetails/19970
  30. https://www.nytimes.com/2023/10/05/movies/worlds-greatest-sinner-victims-of-sin-review.html
  31. https://www.donlope.net/fz/videography/Worlds_Greatest_Sinner.html
  32. https://wiki.killuglyradio.com/wiki/The_World%25E2%2580%2599s_Greatest_Sinner_%28The_Film%29
  33. https://www.cashiersducinemart.com/details/issue-18/article-515/let%2527s-not-hate-anyone-timothy-carey-and-the-world%2527s-greatest-sinner
  34. https://www.viennale.at/en/films/worlds-greatest-sinner
  35. https://www.screenslate.com/articles/worlds-greatest-sinner
  36. https://filmofile.medium.com/timothy-careys-the-world-s-greatest-sinner-is-prophetic-943f07384ef8
  37. https://thirtyhertzrumble.com/2018-tcm-film-festival-recap/
  38. https://www.academymuseum.org/en/programs/detail/the-worlds-greatest-sinner-018416c0-23e0-283e-9cc2-70bf309f219a
  39. https://www.criterionchannel.com/the-world-s-greatest-sinner
  40. https://festival.ilcinemaritrovato.it/en/film/the-worlds-greatest-sinner/
  41. https://www.latimes.com/archives/la-xpm-1996-06-28-ca-19231-story.html
  42. https://www.imdb.com/name/nm1075500/
  43. https://www.orlandosentinel.com/1994/05/16/veteran-character-actor-timothy-carey-dies-at-65/
  44. https://www.imdb.com/name/nm2175321/bio/
  45. https://thetimothycareyexperience.wordpress.com/2017/06/14/doris-e-carey-1940-2017/
  46. https://www.washingtonpost.com/archive/local/1994/05/18/deaths/f7cf3e7f-fabd-4545-ba0a-3450e567d2a5/
  47. https://fipresci.org/report/the-worlds-greatest-sinner-and-the-big-timothy-carey-question/
  48. https://www.instagram.com/p/CxeRqLrJIHe/
  49. https://www.imdb.com/title/tt0042212/
  50. https://www.imdb.com/title/tt0050213/
  51. https://www.columbo.fandom.com/wiki/Dead_Weight
  52. https://www.imdb.com/title/tt0594438/
  53. https://www.imdb.com/title/tt0683143/
  54. https://www.imdb.com/title/tt0682981/
  55. https://www.imdb.com/title/tt0594323/
  56. https://www.imdb.com/title/tt0066931/
  57. https://www.imdb.com/title/tt0623148/
  58. https://www.imdb.com/title/tt0072683/
  59. https://www.imdb.com/title/tt0074328/
  60. https://www.imdb.com/title/tt0539252/
  61. https://www.imdb.com/title/tt0709577/
  62. https://www.imdb.com/title/tt0539187/
  63. https://www.imdb.com/title/tt0518739/
  64. https://www.imdb.com/title/tt0592580/
  65. https://www.imdb.com/title/tt0083409/
  66. https://www.themoviedb.org/person/2758-timothy-carey
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