Katy Jurado

Katy Jurado

Biography and Film Career

Katy Jurado (1924–2002) was a pioneering Mexican actress who broke barriers in both Mexican cinema and Hollywood. Known for her strong presence and emotional depth, she won a Golden Globe for High Noon (1952) and became the first Latin American actress nominated for an Oscar for Broken Lance (1954).

She began acting in the 1940s, despite her family's disapproval, and became a star of Mexico's Golden Age of Cinema. Jurado brought authenticity and dignity to her roles, often challenging Hollywood’s Latina stereotypes. Offscreen, she lived passionately, with high-profile romances, including one with Marlon Brando, and a turbulent marriage to Ernest Borgnine.

She continued acting into her later years, receiving lifetime honors like the Ariel Award and a Hollywood Walk of Fame star. Jurado died in 2002 in Cuernavaca, Mexico, leaving a legacy as a fearless trailblazer for Latina actresses worldwide.

Related

High Noon - 1952

Katy Jurado (1924 – 2002)

La Dama de los Dos Mundos

A Life of Passion, Strength, and Breaking Barriers

María Cristina Estela Marcela Jurado García, known professionally as Katy Jurado, was born on January 16, 1924, in Guadalajara, Jalisco, Mexico. She emerged from an affluent, conservative Mexican family that expected her to follow a traditional path. But from an early age, Jurado harbored a deep love for film and the performing arts—a passion that would lead her down a trailblazing and, at times, turbulent path.

Early Years and Rebellion Against Tradition

Jurado grew up in a privileged household, the daughter of a wealthy lawyer, Luis Jurado Ochoa, and a mother, Vicenta Estela García de la Garza, who had musical inclinations. Despite this, her family's rigid values left little room for creative pursuits. Her parents strongly opposed her acting ambitions, believing a career in film was inappropriate for a woman of her social standing.

Undeterred, and determined to follow her own path, Jurado signed her first movie contract without her parents' consent, using a legal loophole that allowed her to act after turning 18. Her debut came in the 1943 film "No matarás" (Thou Shalt Not Kill), a melodrama that hinted at the fierce energy she would bring to her roles throughout her career.

Mexican Stardom and a Move to Hollywood

During the 1940s, Jurado became a star in Mexico’s flourishing Golden Age of Cinema. She was admired for her commanding presence and ability to portray fiery, strong-willed women. But it was her transition to Hollywood in the early 1950s that made history.

Her breakthrough came when director Budd Boetticher and actor John Wayne noticed her in Mexico. Though she initially spoke little English, Jurado impressed American producers with her magnetic screen presence. She studied the language intensively and eventually mastered it.

Her first Hollywood film was "The Bullfighter and the Lady" (1951), which introduced her sultry, sharp-edged beauty to American audiences. But it was "High Noon" (1952), opposite Gary Cooper, that marked her international breakthrough. As Helen Ramírez, the wise, independent former lover of the marshal, Jurado brought dignity and emotional complexity to the role—an unusual feat for Latina actresses in that era. Her performance won her a Golden Globe Award for Best Supporting Actress, the first for a Latina.

Critical Acclaim and Trailblazing Success

In 1954, Jurado starred in "Broken Lance", a western drama where she played the dignified wife of a rancher, portrayed by Spencer Tracy. The role earned her an Academy Award nomination for Best Supporting Actress, making her the first Mexican actress ever nominated for an Oscar.

Throughout the 1950s and 1960s, she appeared in a string of Westerns and dramas, often typecast as the “fiery Latina,” but she consistently brought nuance and integrity to her roles. Her other notable performances include:

• El Bruto (1953) directed by Luis Buñuel
• One-Eyed Jacks (1961) with Marlon Brando
• Pat Garrett and Billy the Kid (1973) by Sam Peckinpah
• Under the Volcano (1984) directed by John Huston

Personal Life and Romantic Turmoil

Jurado's off-screen life was as intense as her characters. She married actor Víctor Velázquez at a young age, and the couple had two children. However, the marriage was short-lived, ending in divorce. Her firstborn son, Victor Hugo, was a central figure in her life until his tragic death in a car accident in 1981—a loss from which she never fully recovered.

In 1959, she married American actor Ernest Borgnine, a union that quickly turned volatile. The relationship was marked by frequent public arguments and even physical altercations. The couple divorced after just four years, in 1963.

Jurado was also romantically linked to actor Marlon Brando, with whom she shared a deep connection that spanned years, though they never married. Her beauty, intellect, and strong will attracted many admirers, but she often chose independence over compromise.

Later Life and Continued Passion for Acting

Despite personal losses and professional challenges, Jurado never stopped acting. She returned to Mexican cinema and television later in life and took on roles that reflected her maturity and emotional depth.

In her final years, she remained active in promoting Mexican arts and culture. She was revered not just as a screen legend, but as a symbol of strength for Mexican women in a male-dominated industry.

Her last film, "Un secreto de Esperanza" (A Beautiful Secret), was released posthumously in 2002. It was a fitting farewell: Jurado played an elderly woman full of wisdom and resilience, mirroring her own life story.

Death and Legacy

Katy Jurado died on July 5, 2002, in her home in Cuernavaca, Morelos, Mexico, at the age of 78. The cause of death was pulmonary and kidney failure.

She was laid to rest at the Panteón de la Paz in Cuernavaca. Her passing was mourned across the film world, both in Mexico and Hollywood. Tributes highlighted her role as a pioneer for Latina actresses and a symbol of grace, strength, and perseverance.

Legacy

Katy Jurado was more than a glamorous star; she was a woman who defied expectations, shattered stereotypes, and left behind a legacy of resilience and dignity. From the golden screens of Mexico to the Academy Awards, she built a bridge for future generations of Latinas in Hollywood.

In 1992, she received the Golden Boot Award for her contribution to Westerns. She also has a star on the Hollywood Walk of Fame, an enduring testament to her influence on American cinema.

Her life story remains an inspiration—a testament to talent, courage, and the relentless pursuit of one's passion in the face of cultural and personal adversity.

Physical Measurements and Features

• Height: 5 feet 5 inches (165 cm)
• Hair: Dark brown / black (often styled in classic waves)
• Eyes: Dark brown (noted for their intensity and expressiveness)
• Figure: Curvaceous hourglass figure, typical of mid-century screen sirens

Distinctive features:

• Strong cheekbones
• Deep, expressive voice with a notable Mexican accent
• Magnetic, confident posture that added to her powerful screen presence

Net Worth

At the time of her death in 2002, Katy Jurado's net worth was estimated to be between $5 million and $7 million. This wealth was accumulated over a prolific career spanning nearly six decades, during which she starred in over 70 films across Mexican and American cinema. Beyond acting, Jurado also worked as a writer, radio commentator, and bullfighting critic, contributing to her financial success.

Interesting Facts about Katy Jurado

Katy Jurado’s Acting Style

Katy Jurado’s acting style was as striking and layered as the woman herself—steeped in emotional intelligence, instinctive realism, and an unapologetic sense of personal strength. She carried her characters not only with performance, but with presence.

Naturalistic and Intuitive Performance

Jurado was not a classically trained actress in the conventional sense; instead, she relied on deep emotional intuition. Her performances felt lived-in and spontaneous, as if she was the character rather than performing it. This lent her a naturalism that stood out starkly against the theatrical delivery common in mid-century cinema, particularly in Mexican melodramas and early Hollywood Westerns.

She often delivered her lines understatedly, with quiet intensity, allowing the emotion to simmer beneath the surface. Her eyes did as much acting as her voice—often communicating resignation, desire, or defiance with a single glance. Directors frequently capitalized on her expressive face and the inner life it suggested.

Commanding Presence and Physicality

Jurado's physical presence on screen was commanding. She brought a stoic poise and physical grace, often playing women who were sensual yet grounded, proud yet vulnerable. Whether portraying a frontier saloon owner in High Noon or a rural matriarch in Mexican films, she never let the camera dominate her. She inhabited the frame.

Even when cast in stereotypical “fiery Latina” roles—a common trope in 1950s Hollywood—Jurado often subverted the cliché. Rather than playing exaggerated passion, she imbued her characters with complex inner conflicts, often portraying women hardened by survival rather than animated by temperament.

Emotional Range and Subtext

A hallmark of her style was the ability to convey multiple emotional layers simultaneously. In High Noon, as Helen Ramírez, she moves from warmth to disillusionment, from fear to pride, all within the tight boundaries of a short scene. She could cry, laugh, seduce, and dismiss—all without ever raising her voice.

She also had an exceptional sense of timing and restraint. Jurado often let silence speak louder than words, and directors trusted her enough to let the camera linger. This allowed her to create subtextual tension, suggesting years of backstory with a single expression or a delayed response.

Cultural Duality and Authenticity

One of her defining traits was her cultural duality—a Mexican actress fluent in both Spanish and English, yet never completely assimilated into either film world. She brought an undeniable authenticity to her roles, particularly when playing Mexican or Indigenous women. Her portrayals resisted exoticism, instead offering fully realized characters with dignity, intellect, and agency.

Even when cast alongside big Hollywood names like Gary Cooper, Marlon Brando, or Spencer Tracy, Jurado never shrank into the background. She shared the screen with them as an equal—not because the scripts demanded it, but because her presence insisted on it.

Voice and Language

Her voice was low, firm, and slightly husky, with a distinct accent that added texture and realism to her roles. Rather than masking her accent (as many studios requested of Latina actresses at the time), Jurado kept it. It became part of her identity as a performer—earthy, sensual, and unmistakably hers.

Her bilingual abilities also allowed her to code-switch gracefully between cultural worlds on screen. In Mexican films, she could portray rural women, aristocrats, or street-smart survivors. In American films, she often played women caught between cultures, a reflection of her own professional life.

Summary: The Style of a Pioneer

Katy Jurado’s acting style was:

• Emotionally intuitive and grounded in realism
• Marked by quiet strength and inner tension
• Physically poised, with a commanding screen presence
• Skilled at subtle emotional shifts and layered characters
• Culturally authentic, refusing to conform to stereotypes
• Vocally distinctive, using accent and tone to enrich characters

She wasn’t an actress who relied on theatrical gestures or overt dramatics. Instead, she made you lean in, watch closely, and feel something stirring beneath the surface. In a time of rigid archetypes, Jurado offered something rare: truth, strength, and nuance—on her own terms.

Personal Quotes

On Her Career and Breaking Barriers

“I was never afraid of Hollywood, and I wasn’t going to let them turn me into another Dolores del Río.”
A clear statement of her refusal to be molded into the industry's image of the ideal Latina actress. She admired Dolores del Río, but wanted to forge her own identity.

“I didn’t take all the roles they gave me. I didn’t want to play only the Indian maid or the cantina girl. I turned many down.”
A bold assertion of her agency in choosing roles with dignity and complexity, even when few options existed for Latinas in Hollywood.

“I am an actress, not a star. A star lives for glamour. I live for my work.”
A reflection of her humility and devotion to the craft of acting, rather than fame or celebrity.

On Love and Personal Struggles

“Love is not always enough. Sometimes it destroys more than it saves.”
Thought to reflect her tumultuous relationships, including her volatile marriage with Ernest Borgnine.

“My life has been a succession of tragic loves.”
A melancholic but honest summation of her romantic life, often marked by passion, intensity, and loss.

“Marlon Brando was the great love of my life. But he didn’t want to be tamed.”
A rare, candid remark on her deep affection for Brando, with whom she had a long and complicated relationship.

On Identity and Cultural Pride

“I never tried to hide my accent. That’s who I am. Why should I change that?”
Her commitment to authenticity, especially as one of the first Latinas to succeed in Hollywood without denying her roots.

“Being Mexican is not a limitation—it’s a richness. I brought something to Hollywood they didn’t have.”
A proud acknowledgment of her cultural contribution to American cinema.

On Life and Aging

“You can’t live on the past. You must be ready for the next scene, in life as in film.”
A poetic metaphor for resilience and staying forward-looking, even in later years.

What Others said about Katy Jurado

From Fellow Actors & Directors

Marlon Brando

“She was more woman than any woman I had ever known.”
Brando, who had a complex romantic relationship with Jurado, deeply respected her intelligence and presence. He saw her as a woman of substance—strong, intelligent, and sensual.

Gary Cooper (co-star in "High Noon")

While Cooper was a man of few words publicly, those close to the production recalled that he was “deeply impressed by her poise and strength,” especially given that she was new to Hollywood and acting in English for the first time.

John Huston (director of "Under the Volcano")

“Katy brought dignity to every frame she appeared in. She had a presence that couldn’t be ignored.”
Huston appreciated her ability to command a scene even in small roles, crediting her with elevating the emotional depth of his film.

From Critics and Historians

Robert Osborne (TCM host and film historian)

“She was the first actress from Mexico to show Hollywood that Latina women were not just spitfires or dancers—they were real, complicated human beings.”

Charles Ramírez Berg (film scholar, University of Texas)

“Jurado shattered Hollywood’s mold for Latina characters. She made room for power, sorrow, anger, and grace—all within a single performance.”
His work often cites Jurado’s roles as foundational to the redefinition of Latinx identity in American cinema.

From the Media

The New York Times (Obituary, 2002)

“She stole scenes from legends and did so with elegance. Her presence onscreen was like a storm quietly brewing—simmering, smoldering, ready to shift the air in the room.”

Los Angeles Times

“Jurado was Hollywood’s first true Latina anti-heroine. She didn’t fit the mold, and she didn’t care to.”

Posthumous Reflections

Salma Hayek (actress and producer)

“Katy Jurado made it possible for someone like me to dream. She was fierce, she was brilliant—and she never apologized for being Mexican.”

Guillermo del Toro (director)

“She had the eyes of a poet and the strength of a warrior. Katy Jurado was a force of nature.”
Del Toro has often spoken of Jurado as a foundational influence in his understanding of powerful female characters.

Awards and Recognition

Major Awards and Nominations

Academy Awards (Oscars)

• Nomination: Best Supporting Actress for "Broken Lance" (1954)
  She was the first Latin American actress ever nominated for an Academy Award.

Golden Globe Awards

• Winner: Best Supporting Actress – Motion Picture for "High Noon" (1952)
  She became the first Latina actress to win a Golden Globe Award.

Mexican Awards and Honors

Ariel Awards (Mexican Academy of Film Arts and Sciences)

• Winner: Best Supporting Actress for "El Bruto" (1953)
• Honorary Ariel (1997):
  Lifetime achievement award honoring her contribution to Mexican cinema.

Career Recognition and Honors

Hollywood Walk of Fame

• Star on the Hollywood Walk of Fame
  Located at 7065 Hollywood Blvd, awarded in 1960, honoring her impact on motion pictures.

Golden Boot Award (1992)

• Honoring her contributions to Western films and her legacy in the genre.

Induction into the National Association of Latino Independent Producers (NALIP) Latino Hall of Fame

• For pioneering representation of Latina actresses in American cinema.

Festival Tributes & Posthumous Honors

2002 – Guadalajara International Film Festival (Mexico)

• Special tribute at the time of her passing, honoring her as one of the key figures in the Golden Age of Mexican Cinema.

2006 – Latin American Film Festival Retrospectives

• Multiple retrospectives of her work in Mexico and the U.S. celebrated her legacy.

2020s – Renewed Recognition in Film Studies & Media

• Film scholars and institutions have increasingly highlighted Jurado as a cultural and feminist icon, especially in re-evaluations of the Western genre and Latinx contributions to Hollywood.

Summary of Firsts and Milestones

• First Latina actress nominated for an Academy Award
• First Latina actress to win a Golden Globe
• First Mexican actress to successfully break into Hollywood Westerns
• Honored in both Mexican and American cinema industries for her legacy

Kathy Jurado Movies

1943

• No matarás
  Role: Susana
  Synopsis: A melodrama exploring themes of morality and justice.
• Internado para señoritas
  Role: Student girl
  Synopsis: A comedy set in a girls' boarding school, highlighting youthful antics and romantic entanglements.
• Balajú
  Role: Lola
  Synopsis: A musical drama intertwining love and ambition in the world of entertainment.

1944

• La vida inútil de Pito Pérez
  Role: Soledad
  Synopsis: Based on José Rubén Romero's novel, it follows the misadventures of a philosophical vagabond.
• La Sombra de Chucho el Roto
  Role: Elisa
  Synopsis: A tale of a legendary Mexican bandit who becomes a folk hero.
• The Museum of Crime (El museo del crimen)
  Role: Sara Cardoso
  Synopsis: A mystery involving a series of crimes connected to a museum's exhibits.
• Bartolo toca la flauta
  Role: Cleo
  Synopsis: A comedic story about a man whose flute playing leads to unexpected situations.

1945

• Soltera y con gemelos
  Role: Gloria
  Synopsis: A romantic comedy about a single woman navigating life with twins.
• Guadalajara pués
  Role: Rosa
  Synopsis: A musical celebrating the culture and traditions of Guadalajara.
• La Viuda celosa
  Role: Lucinda de Altas Torres
  Synopsis: A drama centered on a jealous widow dealing with societal expectations.

1946

• Caribbean Rose (Rosa del Caribe)
  Role: Marga
  Synopsis: A romantic adventure set against the backdrop of the Caribbean.

1947

• El último Chinaco
  Role: Concha
  Synopsis: A historical drama about the last of the Chinacos, Mexican guerrilla fighters.
• Nosotros los pobres
  Role: "La que se levanta tarde"
  Synopsis: A classic Mexican film depicting the struggles of the urban poor.

1948

• Prisión de Sueños
  Role: Carlota
  Synopsis: A drama exploring the dreams and aspirations of prison inmates.

1949

• Hay lugar para...dos
  Role: Kitty
  Synopsis: A romantic comedy about love triangles and misunderstandings.
• El Seminarista
  Role: Chayito
  Synopsis: A young man's journey through seminary life and the challenges he faces.
• Mujer de Medianoche
  Role: The Stepmother
  Synopsis: A dramatic tale of family dynamics and hidden secrets.

1950

• El sol sale para todos
  Role: Amalia
  Synopsis: A story emphasizing that happiness and success are attainable for all.
• Cabellera Blanca
  Role: "La Vampiresa"
  Synopsis: A drama involving a mysterious woman with a striking white mane.

1951

• Cárcel de Mujeres
  Role: Lupe
  Synopsis: A look into the lives of women incarcerated, their stories, and struggles.
• Bullfighter and the Lady
  Role: Chelo Estrada
  Synopsis: An American learns the art of bullfighting in Mexico, finding love along the way.

1952

• High Noon
  Role: Helen Ramírez
  Synopsis: A town marshal faces a gang of killers alone, with time ticking away.
• El Bruto
  Role: Paloma
  Synopsis: A strongman's life takes a turn when he becomes involved in a landlord's schemes.

1953

• Tehuantepec
  Role: Clara
  Synopsis: A film highlighting the culture and traditions of the Tehuantepec region.
• The Sword of Granada
  Role: Lolita
  Synopsis: An adventure set in historical Spain involving intrigue and romance.
• San Antone
  Role: Mistania Figueroa
  Synopsis: A Western involving military conflicts and personal vendettas.
• Arrowhead
  Role: Nita
  Synopsis: A scout tries to prevent an Apache uprising, facing personal dilemmas.

1954

• Broken Lance
  Role: Señora Deveraux
  Synopsis: A rancher's family faces internal conflicts and challenges to their legacy.

1955

• The Racers
  Role: María Chávez
  Synopsis: A race car driver's ambition affects his relationships and career.
• Trial
  Role: Consuelo Chávez
  Synopsis: A lawyer defends a young man accused of murder amidst political tensions.

1956

• Trapeze
  Role: Rosa
  Synopsis: A love triangle forms among trapeze artists in a Parisian circus.
• Man from Del Rio
  Role: Estella
  Synopsis: A gunfighter becomes a sheriff, facing challenges in a lawless town.

1957

• Dragoon Wells Massacre
  Role: Mara Fay
  Synopsis: Survivors of an Indian attack must band together to reach safety.

1958

• The Badlanders
  Role: Anita
  Synopsis: Two men plan a gold heist, facing betrayal and unexpected turns.

1961

• One-Eyed Jacks
  Role: María Longworth
  Synopsis: An outlaw seeks revenge against his former partner who betrayed him.

1962

• Barabbas
  Role: Sara
  Synopsis: The story of the man spared instead of Jesus, exploring his life's journey.

1963

• La Bandida
  Role: "La Jarocha"
  Synopsis: A tale of love and rivalry set against the backdrop of the Mexican Revolution.

1966

• Smoky
  Role: María
  Synopsis: A cowboy forms a bond with a wild horse, facing various challenges.

1967

• A Covenant with Death
  Role: Eulalia
  Synopsis: A judge grapples with his conscience while presiding over a capital case.

1968

• Stay Away, Joe
  Role: Annie Lightcloud
  Synopsis: A Native American returns home, causing comedic chaos in his community.

1971

• The Bridge in the Jungle
  Role: Angela, the Witch
  Synopsis: A community deals with the disappearance of a child in a remote village.

1973

• Pat Garrett & Billy The Kid
  Role: Señora Baker
  Synopsis: An aging lawman is tasked with hunting down his former friend, Billy the Kid.
• Fe, Esperanza y Caridad
  Role: Eulogia
  Synopsis: An anthology film exploring themes of faith, hope, and charity.

1974

• Once Upon a Scoundrel
  Role: Aunt Delfina
  Synopsis: A comedic tale of a man trying to swindle his way through life.

1975

• Los albañiles
  Role: Josefina
  Synopsis: A murder mystery unfolds among construction workers in Mexico City.

1976

• Pantaleón y las visitadoras
  Role: "La Chuchupe"
  Synopsis: A military officer is assigned to manage a group of prostitutes for soldiers.

1978

• The Children of Sanchez
  Role: "Chata"
  Synopsis: A portrayal of a Mexican family's struggles and resilience.

1979

• La Viuda de Montiel
  Role: Mama Grande
  Synopsis: A widow navigates political and personal turmoil in her town.

1981

• Barrio de campeones
  Role: Leonor
  Synopsis: A drama centered around a community's passion for boxing and the challenges faced by its youth.
• D.F./Distrito Federal
  Role: La Solterona
  Synopsis: An exploration of urban life in Mexico City, focusing on the interconnected stories of its residents.
• Evita Perón (TV Movie)
  Role: Doña Juana
  Synopsis: A biographical portrayal of Eva Perón's life, highlighting her political influence and personal struggles.

1984

• Under the Volcano
  Role: Señora Gregoria
  Synopsis: Set in 1930s Mexico, the film follows a British consul's descent into alcoholism and despair.

1985

• Lady Blue (TV Movie)
  Role: Doña Maria Theresa
  Synopsis: A crime drama featuring a tough female detective navigating the challenges of law enforcement.

1998

• El Evangelio de las Maravillas
  Role: Mamá Dorita
  Synopsis: A depiction of a religious sect's life in Mexico, focusing on faith and communal living.
• The Hi-Lo Country
  Role: Meesa
  Synopsis: Two friends return from World War II to find their hometown changed, leading to conflicts over love and land.

2002

• Un secreto de Esperanza
  Role: Esperanza
  Synopsis: An elderly woman forms an unexpected friendship with a young boy, sharing life lessons and secrets.

Katy Jurado’s TV Series

1950s–1960s: Early American Television Roles

• 1952 – Mr. & Mrs. North
  Episode: "These Latins"
  Role: Lolita Alvarez
  Synopsis: A guest role in this mystery series where Jurado portrayed Lolita Alvarez.
• 1954 – Climax!
  Episode: "Nightmare by Day"
  Role: Margo Nieto
  Synopsis: In this anthology series, Jurado played Margo Nieto in a suspenseful episode.
• 1957 – Playhouse 90
  Episode: "Four Women in Black"
  Role: Sister Monica
  Synopsis: Jurado took on the role of Sister Monica in this dramatic anthology series.
• 1959 – The Rifleman
  Episode: "The Boarding House"
  Role: Julia Massini
  Synopsis: In this Western series, she portrayed Julia Massini, a boarding house owner.
• 1960 – The Westerner
  Episode: "Ghost of a Chance"
  Role: Carlotta
  Synopsis: Jurado appeared as Carlotta in this Western series episode.
• 1962 – Death Valley Days
  Episode: "La Tules"
  Role: La Tules
  Synopsis: She played the historical figure La Tules in this anthology series.
• 1962 – The Eleventh Hour
  Episode: "Seventh Day of Creation"
  Role: Rose Ramírez
  Synopsis: In this medical drama, Jurado portrayed Rose Ramírez.

1970s: Continued Television Appearances

• 1970 – The Virginian (The Men From Shiloh)
  Episode: "The Best Man"
  Role: Mama Fé
  Synopsis: She played Mama Fé in this rebranded version of the Western series.
• 1972 – Alias Smith and Jones
  Episode: "The McCreede Feud"
  Role: Carlotta
  Synopsis: Jurado appeared as Carlotta in this Western adventure series.
• 1977 – Baretta
  Episode: "Not on Our Block"
  Role: Rosa Canzone
  Synopsis: In this detective series, she portrayed Rosa Canzone.
• 1979 – Tales of the Unexpected
  Episode: "Man from the South"
  Role: Woman
  Synopsis: Jurado took on the role of a woman in this suspense anthology series.

1980s: Sitcoms and Dramas

• 1984 – a.k.a. Pablo
  Role: Rosa Maria Rivera
  Synopsis: In this sitcom, she played the matriarch Rosa Maria Rivera, mother to the main character, a stand-up comedian navigating his career and family expectations.
• 1985 – Lady Blue
  Episode: Pilot
  Role: Doña Maria Theresa
  Synopsis: Jurado appeared as Doña Maria Theresa, a cocaine kingpin, in the pilot of this crime drama series.

1990s: Telenovelas and Final Roles

• 1994 – Más allá del puente
  Role: La Jurada
  Synopsis: In this Mexican telenovela, she portrayed La Jurada.
• 1996 – Te sigo amando
  Role: Justina
  Synopsis: Jurado played Justina in this romantic drama telenovela.