1952 Academy Awards® Winners and History Actor: GARY COOPER in "High Noon" , Marlon Brando in "Viva Zapata!", Kirk Douglas in "The Bad and the Beautiful" , Jose Ferrer in "Moulin Rouge", Alec Guinness in "The Lavender Hill Mob" Actress: SHIRLEY BOOTH in "Come Back, Little Sheba", Joan Crawford in "Sudden Fear", Bette Davis in "The Star", Julie Harris in "The Member of the Wedding", Susan Hayward in "With a Song in My Heart" Supporting Actor: ANTHONY QUINN in "Viva Zapata!", Richard Burton in "My Cousin Rachel", Arthur Hunnicutt in "The Big Sky", Victor McLaglen in "The Quiet Man" , Jack Palance in "Sudden Fear" Supporting Actress: GLORIA GRAHAME in "The Bad and the Beautiful" , Jean Hagen in "Singin' In The Rain" , Colette Marchand in "Moulin Rouge", Terry Moore in "Come Back, Little Sheba", Thelma RItter in "With a Song in My Heart" Director: JOHN FORD for "The Quiet Man" , Cecil B.

DeMille for "The Greatest Show On Earth", John Huston for "Moulin Rouge", Joseph L. Mankiewicz for "Five Fingers", Fred Zinnemann for "High Noon" This was the first year that the Academy Awards ceremony were televised (on March 19, 1953), on black and white NBC-TV, with Bob Hope as host (in Hollywood at the RKO Pantages Theater) and Conrad Nagel (in New York at the NBC International Theatre). It was the first ceremony to be held simultaneously in two locations. It resulted in the largest audience in commercial television history. Hollywood had to admit and succumb to the competing pressures from the burgeoning home entertainment medium. The show was telecast throughout the US and Canada. The Best Picture Award was another surprise and is forever considered one of the Academy's worst choices for the top prize. 1952 has been considered one of the years in which the Academy blundered the greatest in its choice of Best Picture. The bloated, lumbering, melodramatic epic The Greatest Show on Earth was one of the Academy's biggest gaffes.

This year also marked the first time in Oscar's history that all of the top six prizes (Best Picture, Director, Actor, Actress, Supporting Actor, and Supporting Actress) went to six different films. This would occur again in 1956, and then 49 years later in 2005. Instead of going to the favored, critically-acclaimed, definitive and popular western High Noon , the top Oscar - in a major upset - went to the "P.T. Barnum of Hollywood," legendary director/producer Cecil B. De Mille's gaudy epic spectacular about the struggling Ringling Brothers-Barnum and Bailey Circus, The Greatest Show on Earth (with five nominations and two wins - Best Picture and Best Writing: Original Story). De Mille's cornball film chronicled the financial and personal problems (a romantic triangle) of the tough, three-ring circus manager (Charlton Heston in one of his earliest films), a beautiful, high-bar aerialist (Betty Hutton), a crippled trapeze artist/performer (Cornel Wilde), a clown (James Stewart), and others.

This ponderous Best Picture is best known not for its acting (even though it was nominated and won for Best Original Story!) but for its spectacular train-wreck sequence. The award, more than honoring the film, also saluted the film's producer, DeMille "the father (or founder) of Hollywood," with his only Best Picture Oscar - and his sole Best Director nomination. [Apologetically, in recognition of his outstanding years of producing and directing, De Mille received the Irving G. Thalberg Memorial Award instead.] He was known for making the first feature-length movie in Hollywood, The Squaw Man (1914), and many other larger than life, 'cast of thousands' films in his past (including The Ten Commandments (1923), The Sign of the Cross (1932), Cleopatra (1934) , Samson and Delilah (1949), and a second version of The Ten Commandments (1956) , his last film). His The Greatest Show on Earth was one of the first Best Pictures that was a big-budget blockbuster with lots of special effects.

The Academy felt obligated, presumably, to honor the great director as his career was coming to an end. The four other Best Picture nominees were diverse: the front-runner - the taut, gripping Western showdown about a Hadleyville town marshal who faces four professional killers in director Fred Zinnemann's character study High Noon (with six nominations and four wins - Best Actor, Best Song - Dimitri Tiomkin's "Do Not Forsake Me, Oh My Darlin'", Best Dramatic Score, and Best Film Editing). The Academy followed its familiar pattern of snubbing western genre films by denying the Best Picture Oscar to a western. [Very few westerns have ever been nominated for Best Picture.

By century's end, only three have won the top award, Cimarron (1930/31), Dances With Wolves (1990), and Unforgiven (1992) .] the portrait of the life of dwarfish, impressionistic artist Henri de Toulouse-Lautrec in director John Huston's Moulin Rouge (with seven nominations and two wins - Best Color Art Direction and Set Decoration, and Best Color Costume Design) Sir Walter Scott's chivalrous romance novel lavishly adapted for the screen in director Richard Thorpe's Ivanhoe (with three nominations and no wins) John Ford's Irish romantic comedy The Quiet Man (with seven nominations and two wins - Best Director and Best Color Cinematography) about an American ex-boxer (John Wayne) who returns to his childhood Irish town of Innisfree and attempts to romance a spirited Irish lass (Maureen O'Hara) It was his sixth nomination for which John Ford won his fourth Academy Award as Best Director for his epic romantic comedy The Quiet Man (1952) .

It was a record for the director (and for Academy history - the most Best Director wins for a film director), but it would be his last nomination and Oscar. [His earlier three Best Director wins were in 1935, 1940, and 1941. Ford lost the Best Director award for Stagecoach (1939) and the Best Picture award for The Long Voyage Home (1940). After his last win in 1952, he went on to direct more great western classics, including The Searchers (1956) and The Man Who Shot Liberty Valance (1962). Remarkably, John Ford never won an Oscar for his Westerns, the major core of his work.] DeMille was only nominated for director once - for this 1952-winning Best Picture, but he lost.

[His films were nominated for Best Picture two other times - Cleopatra (1934) and The Ten Commandments (1956) .] Although it was defeated for the Best Picture award (with Stanley Kramer as producer), UA's High Noon managed to bring an Oscar statuette to mythic, small-town, retired Marshal Will Kane, played by fifty-one year-old Gary Cooper (it was his fifth and last career nomination - and his second Oscar win). Marlon Brando again lost the Academy Award for Best Actor (a second consecutive nomination in a career total of eight nominations) in his title role performance as the Mexican peasant revolutionary Emiliano Zapata in director Elia Kazan's Viva Zapata! (with five nominations and one win - Best Supporting Actor).

[Brando had a third consecutive nomination in 1953 for Julius Caesar, and finally a winning nomination in 1954 for On The Waterfront (1954) .] Kirk Douglas (with his second of three unsuccessful career nominations) was also Best Actor-nominated for his role as Jonathan Shields, a ruthless Hollywood film producer in director Vincente Minnelli's The Bad and the Beautiful (with six nominations and five wins) told from the viewpoint of an actress, a writer, and a director. Douglas' nomination was the only one that the film didn't win.

[Kirk Douglas' impressive acting career was nominated only three times - the other two were Champion (1949), and Lust for Life (1956), but he never won an Oscar.] The other two Best Actor nominees were: Jose Ferrer (with his third and last career nomination - and his second Best Actor nomination) as the physically stunted, cynical artist of 19th century Montmartre named Toulouse-Lautrec in writer/director John Huston's Moulin Rouge British actor Alec Guinness (with his first of four career acting nominations) as unsuspected, prim bank teller/mastermind robber Henry Holland who melts down gold bank bars into miniature Eiffel Tower paperweights in director Charles Crichton's UK comedy film The Lavender Hill Mob (with two nominations and one win - Best Story and Screenplay) The Best Actress Award winner was Shirley Booth in her film debut (with her sole career nomination - and her only Oscar for a role she had played on Broadway) as the sloppy, waddling, worn-out, drab housewife Lola Delaney (of former alcoholic, middle-aged, frustrated, and weak-resolved husband Burt Lancaster) who mourns her lost dog Sheba in director Daniel Mann's film of

 marital tension from William Inge's Come Back, Little Sheba (with three nominations and one win - Best Actress).

[Booth's win marked the first time that an actress had ever won a Best Actress award in her first film.] It was the peak of Booth's acting career - she would appear in only four more lesser feature films, achieving more popularity in the title role on the TV comedy show Hazel in the early 60s.

The four other Best Actress nominees were: Joan Crawford (with her third and last career nomination) as successful playwright/heiress Myra Hudson in director David Miller's suspense thriller Sudden Fear (with four nominations and no wins) Julie Harris (with her sole career nomination) recreating her Broadway role as twelve year-old Frankie Adams growing up in 1945 Georgia in director Fred Zinnemann's version of Carson McCullers' play, The Member of the Wedding (the film's sole nomination) Bette Davis (with her ninth career nomination) as former Oscar-winning actress Margaret Elliot in pathetic decline in director Stuart Heisler's The Star (the film's sole nomination) Susan Hayward (with her fourth of five career nominations) as Jane Froman (the real-life Froman provided the actual singing in the film) in director Walter Lang's With a Song in My Heart (with five nominations and one win - Best Musical Score) about a crippled WWII troop singer/entertainer who survived an airplane-crash during a USO tour; songs included "Get Happy" Mexican-born Anthony Quinn (with his first of four career nominations - and first of two Best Supporting Oscars) won the Best Supporting Actor Award for his performance as Eufemio Zapata

, Mexican revolutionary Zapata's (Marlon Brando) dissolute, betraying brother in Viva Zapata!.

Other Best Supporting Actor nominees were: Jack Palance as a charming but lethal actor Lester Blaine who romances Joan Crawford for her money in Sudden Fear. [It was the first of three career nominations for Palance. He was also nominated for playing a mean gunslinger in Shane (1953) and won for City Slickers (1991), a record 38 years later.] Richard Burton in his American film debut (with his first of seven unsuccessful nominations ) as young aristocrat Philip Ashley obsessed with widowed Olivia de Havilland in director Henry Koster's melodramatic My Cousin Rachel (with four nominations and no wins) Arthur Hunnicutt (with his sole career nomination) as 1830 Missouri keelboater Uncle Zeb in director Howard Hawks' The Big Sky (with two nominations and no wins) Victor McLaglen (with his second and last career nomination) for his role as bully Red Will Danaher (Maureen O'Hara's brother) in The Quiet Man .

[McLaglen was the first winner in the Best Actor category (in 1935) that was later nominated in a Best Supporting Actor category.] Gloria Grahame won the Best Supporting Actress Award (with her last career nomination and her sole Oscar win out of two career nominations) as Rosemary Bartlow - the strong-willed, seductive Southern belle wife of an abused novelist-screenwriter (Dick Powell) and an aspiring actress (molded by movie producer Kirk Douglas) in The Bad and the Beautiful - Grahame's first Oscar nomination was for Crossfire (1947). [She also had a role in this year's Best Picture, as the character of Angel.] The other Best Supporting Actress nominees were: Jean Hagen (with her sole career nomination) as blonde, squeaky-voiced, silent-turned-'talkie' film star Lina Lamont in the great film musical Singin' In The Rain - a stellar performance that should have won the Oscar!

Colette Marchand (with her sole nomination) as streetwalker Marie Charlet (Toulouse-Lautrec's mistress) in Moulin Rouge Terry Moore (with her sole nomination) as room-renting student Marie Buckholder in Come Back, Little Sheba Thelma Ritter (with her third of six unsuccessful career nominations) as nurse Clancy (for crippled Susan Hayward) in With a Song in My Heart This year's recipients of Honorary and Other Special Awards included producer/director Merian C. Cooper ("for his many innovations and contributions to the art of motion pictures"), noted for King Kong (1933) , and silent era comedian Harold Lloyd ("master comedian and good citizen"), best known for Safety Last (1923) and The Freshman (1925). Oscar Snubs and Omissions: It was a remarkable year for awards mistakes and films that should have been nominated, but weren't. For instance, what about two major MGM classics: the top backstage musical by co-directors Gene Kelly and Stanley Donen, Singin' In The Rain , which only received two nominations (for Best Supporting Actress (Jean Hagen) and Best Musical Score (for Lennie Hayton)) - and no awards!

(A Best Musical Score award was taken away by perennial Oscar winner Alfred Newman for the competing With a Song in My Heart.) And where were nominations for Gene Kelly in his signature film (as silent film star Don Lockwood, with his memorable splashing in the rain segment), Debbie Reynolds (as Kelly's love-interest), or the inimitable Donald O'Connor? And why did Jean Hagen's vibrant performance lose? By contrast, in the previous year, MGM's An American in Paris (1951) received critical acclaim, commercial success and six Oscars, with star and choreographer Gene Kelly receiving an Honorary Award and the melodramatic Hollywood satire, MGM's The Bad and the Beautiful which won a record five Oscars (Best Supporting Actress, Best Writing: Screenplay, Best Black and White Cinematography, Best Black and White Art/Set Direction, and Best Black and White Costume Design) was also not nominated for Best Picture. [The film received the most Oscar wins of any film without receiving a Best Picture nomination.

It was supplanted by the very inferior Best Picture nominee by MGM, Ivanhoe, with Robert Taylor, Elizabeth Taylor, and Joan Fontaine.] Two great Alec Guinness British comedies, The Man in the White Suit and The Lavender Hill Mob, were also un-nominated for Best Picture. [The Lavender Hill Mob, a film about a clever bank heist orchestrated by a timid bank clerk, did bring, however, a Best Actor nomination to Alec Guinness, and the film won the Best Writing (Story and Screenplay) Award.] Also lacking were nominations in all (or nearly all) categories for Fritz Lang's third western Rancho Notorious, with Marlene Dietrich, and for George Cukor's romantic comedy Pat and Mike (with only one nomination for Best Original Screenplay for Ruth Gordon and Garson Kanin) with Katharine Hepburn and Spencer Tracy. Lovely, young 23 year-old blonde actress Grace Kelly in her second screen role was not nominated for playing the pacifist Quaker wife of Best Actor-winning Gary Cooper in High Noon . And Jennifer Jones was unrecognized as a white-trash Carolina swamp girl in King Vidor's un-nominated film Ruby Gentry.

Cary Grant and Ginger Rogers did not receive acting nominations for their roles as husband and wife in Howard Hawks' un-nominated screwball comedy Monkey Business. The two main performers in John Ford's Irish film The Quiet Man (with seven nominations including Best Picture and Best Supporting Actor (Victor McLaglen), and two wins as noted above) should have been nominated, but were snubbed: John Wayne, in one of the finest roles of his career, as American ex-boxer Sean Thornton red-haired Maureen O'Hara (who never received a nomination!) as the fiesty, temperamental and spirited Mary Kate Danaher And the previous year's Best Actress Oscar winner Judy Holliday was denied a nomination for her role as Florence Keefer in George Cukor's comedy-drama about a troubled marriage, The Marrying Kind (with no nominations), which reunited her with the director and scriptwriters Gordon and Kanin (who had both contributed to her 1950 Oscar win in Born Yesterday).

Charles Chaplin was un-nominated as Best Actor in his last important film Limelight (1952), although he was co-awarded the film's sole Oscar nomination and win - for Best Original Dramatic Score 20 years into the future in 1972, when the film finally became eligible for Oscar consideration. It was Chaplin's ONLY competitive Academy Award win. KATY JURADO, PART 2 Program Notes - Austin Film Society Director of Programming, Austin Film Society After the relative success of THE BULLFIGHTER AND THE LADY, Katy Jurado accepted the invitation to go to Hollywood in late 1951 to talk with screenwriter Carl Foreman, director Fred Zinnemann, and actor Gary Cooper about taking the role of Helen Ramírez in HIGH NOON. The chance to work with such a stellar director and actor made her accept the role despite her professed lack of interest in a Hollywood career. Just in case, she secured an agent, Paul Kohner, husband of Lupita Tovar, another Mexican expatriate actress in Hollywood.

Not yet 25-years-old, but with seven years of acting experience, Katy Jurado stood on the edge of a second acting career – this time as a Hollywood star. Although she would have no scenes with Gary Cooper in HIGH NOON, they frequently talked, especially during the five weeks of rehearsal before a single shot was filmed. Jurado was well aware of Coop’s love of Lupe Vélez two decades earlier, but he was currently involved with actress Patricia Neal. Otherwise, who knows? Katy’s relationship with Grace Kelly was quite different – distant, if not cold. This was the first starring role for Grace Kelly, who had done a lot of TV work after leaving her modeling career in 1950. But Jurado, the established actress, was naturally billed above Kelly. What seemed to cause the problem between them was Jurado’s very direct way of looking into a person’s eyes as she spoke. The “stare” seemed to unnerve Grace, who would fumble her lines in the important scene with “Helen Ramírez.” Katy Jurado also classified Grace Kelly as a woman who acted weak and needy as a way of manipulating men all too eager to help her.

Jurado was strong and willful and didn’t like that traditional feminine wile. When Katy saw that the camera was lovingly pointed at Grace even while Katy delivered her lines, she complained to Zinnemann who said that from then on, when Helen Ramírez spoke, the camera would be on Jurado. Doubtlessly widening the chasm between the two women was the fact that Jurado admittedly preferred the company and friendship of men rather than women. However, this iciness really worked out best for the film, because the former mistress and the new Quaker wife couldn’t possibly get along. Nonetheless, it is Jurado’s character who changes the course of the story by telling Kelly a woman should stand by her man. Jurado’s scenes in her hotel room and in the buggy with Kelly were completed in two days. She was free to go back to Mexico to continue her career there. She had no idea that HIGH NOON would turn out to be one of the most iconic westerns ever made. After its premiere on 24 July 1952, the critics and audiences made it obvious this was an important picture.

Before Oscar nominations in 1953, Jurado was called back from Mexico to accompany Cooper and Zinnemann on a publicity tour for the film. By then screenwriter Carl Foreman, already caught up in the House Un-American Committee witch-hunt for “Communists” in Hollywood, had left for Britain where he would first write SLEEPING TIGER for fellow black-listed director Joseph Losey. Foreman then wrote A HATFUL OF RAIN and THE BRIDGE ON THE RIVER KWAI for Hollywood studios, but behind a front. Only much later would he receive credit for those screenplays. After writing THE KEY for Carol Reed in the UK, Foreman was finally brought back into the Hollywood fold as a credited screenwriter for THE GUNS OF NAVARRONE in 1961. He had been blacklisted for nearly a decade. Despite its association with Carl Foreman, HIGH NOON was nominated for best picture, best director, and best screenplay of 1952. Cooper won for best actor and the editor and composer also received Oscars.

Though ignored by the Academy at this time, Katy Jurado, 25-years-old, would win a Golden Globe for “best supporting actress” in HIGH NOON. Back home in Mexico, Jurado made MUJER DE MEDIANOCHE (28 May 1952) and EL BRUTO, for which she received the Silver Ariel in Mexico for “best supporting actress.” 1952 was a great year for her with HIGH NOON and EL BRUTO and recognition for her acting in both the US and Mexico. Hollywood definitely took note and asked her to come back to shoot SAN ANTONE (shot in California and released 15 February 1953), in which she received 4th billing as “Mistania Figueroa.” It was a post-Civil War film in which a former Union soldier drives cattle into Mexico as ransom for fifty prisoners held by a former Confederate officer. Jurado denied Hollywood stylists the right to change her hairstyles and makeup. She knew how she looked best (or more appropriate for a role). She was already showing her determined side. This film was quickly followed by ARROWHEAD (3 August 1953), in which she received 3rd billing.

Shot in Bracketville, Texas, this film depicted chief-of-scouts Ed Bannon [Charlton Heston], “raised by Indians” but suspicious of a group of Apaches who seem ready to agree to a treaty which will move them to Florida [!]. Of course, the movie makes him “right” in his suspicions. Katy was given her first, but not last, role as a Native American. Filling the script with more suspicion, she was called upon to try to kill her lover, fail, and commit suicide. Katy returned to Mexico briefly to shoot TEHUANTEPEC (released in Mexico 7 October 1954) in which she played a blind woman who fell in love with the doctor who restored her sight. Then came the wonderful role of Señora Devereaux, the wife of Matt Devereaux (Spencer Tracy) in BROKEN LANCE (29 July 1954). Daughter of an Indian chief but passed off as a Mexican, Jurado’s character is the moral center of the film, negotiating the tension between the crusty old rancher/landowner and his older sons.

BROKEN LANCE was a particularly outstanding example of the Freudian westerns of the 1950s. For her finely nuanced portrayal, Jurado was nominated for the Academy Award for Best Supporting Actress, but the award went to Eva Marie Saint for ON THE WATERFRONT. Leaving Westerns behind for a while, Katy played the faithful wife of racecar driver Carlos Chávez (Cesar Romero) in THE RACERS (one of many – and always boring – racing car melodramas). It was released in the US 4 February 1955. Her next film TRIAL (7 October 1955), one that greatly impressed me at age 13, concerned a Mexican-American youth Angel Chávez, who was unjustly accused of the rape/murder of an Anglo girl. Communists try to exploit the case but Glenn Ford splits with the party members and defends Angel in a non-political way (or so I remember – it isn’t on DVD or VHS). Jurado played Angel’s sincere, emotional mother. It was a very gritty bit of American social-realism (and unabashed anti-Communism) at the time.

Katy Jurado was flying so high by now that she was taken to Paris to co-star in TRAPEZE (30 May 1956) with Burt Lancaster, Tony Curtis, and Gina Lollobrigida in her American film debut. It was a behind-the-scenes look at the circus world – the loves, the rivalry, the betrayal. For authenticity it was shot at the Cirque d’Hiver in Paris. Jurado was completely in love with the glamour of the era: the limos, fine hotels, beautiful clothes, the nightclubs, gloves, hats, the etiquette and manners. She hated the later era of jeans and sneakers. Along with her film work she made a number of TV appearances in the 50s in dramatic series like Playhouse 90 and Climax! [the producers’ exclamation point, not mine]. She also appeared in TV westerns like The Rifleman. The TV work made returning to movie westerns easier, even after the glamour of Europe. MAN FROM DEL RIO (30 October 1956) was filmed in California.

She played Estella, a decent woman who tries to love an outlaw-turned-sheriff (fellow Mexican actor Anthony Quinn) into respectability. In DRAGOON WELLS MASSACRE (28 April 1957) a wagon load of prisoners is being escorted through “dangerous Indian territory,” but I can’t find any information about Jurado’s role. The following year she fatefully appeared in BADLANDERS (3 Sept 1958), which was filmed in California and Arizona. With third billing, principal female lead, she met co-star Ernest Borgnine, who played ex-con John McBain, lured into revenge and thievery by fellow cellmate “the Dutchman” (Alan Ladd). Jurado’s character Anita falls in love with McBain, as did Jurado and Borgnine. They began an affair which took her out of movies for nearly 3 years. Only a couple of TV shows interrupted them. On 31 December 1959 they married in a ceremony in Cuernavaca, attended by her parents and her two children, now in their teens.

The craggy-faced, rough-mannered man, who had won an Oscar for “best actor” in MARTY in 1955, seemed to be the love of her life and was for a while until the violence commenced, committed by both parties. She always maintained that the good memories outweighed the bad in that relationship, but vastly preferred the romance and the early part of the marriage – “the best years of her life.” By late 1960 or early 1961 she felt it was time to return to her career. Marlon Brando invited her to be in his directorial debut (and directorial farewell), the much maligned but actually interesting ONE-EYED JACKS (30 March 1961). Perhaps it suffered from its pretentious advertising tagline: “The motion picture that starts its own tradition of greatness.” In this western, Brando plays Rio, who is tracking down conniving former partner, Dad Longworth. Rio wants to kill Dad for betraying him and leaving him to rot in prison, but gets at him through his daughter Louisa whom he seduces (oh, those Freudian westerns).

Katy Jurado plays a very subdued role as the wife of Dad Longworth, with not much to do other than look concerned. She was worthier of much more but the script didn’t allow her much range or interest. However, out of this film came a long-lasting friendship with Brando, who indicated he wanted more of her, but had to settle for Jurado’s offer to be friends. She had done the same with Frank Sinatra. Other Hollywood friends at this time were Sammy Davis Jr, Burt Lancaster, and John Wayne. She returned briefly to Mexico for a role in Y DIOS LA LLAMÓ TIERRA (released in Mexico 30 November 1961), directed by Carlos Toussaint, who had been a set designer on several Jurado films of the 40s, but this certainly didn’t mark a propitious return to the “cine Mexicano.” Instead, while she and Borgnine were still speaking to each other, the couple traveled to Europe to make two films.

BARABBAS (released in Italy 23 December 1961 and in the US 10 October 1962), shot in Italy, was one of the ever-increasing number of runaway productions being filmed in Europe as the traditional Hollywood studio system was collapsing. Even with her small role as a madam/innkeeper, Jurado’s name was so well recognized in the international film world that she received 4th billing. Since her character was a Roman, she didn’t feel that she was betraying her vow not to play characters that made Mexican or Indian women look bad. Anthony Quinn gave a very fine performance as the man who tradition says was set free instead of Christ because of the mob’s wishes. It is an interesting film but not because of Jurado. The second Italian film the couple did together was I BRIGANTI ITALIANI (4 May 1962), in which Jurado played Assunta Carbone, wife of a guerrilla bandit roaming the Italian countryside in the 1860s wars between Italian states. Reportedly this film was never shown theatrically in the US but did receive a TV release.

After some more TV appearances in the US Jurado traveled to Mexico to be in LA BANDIDA (13 January 1963), set in a brothel during the Mexican revolution. Her co-star was the fearsome powerhouse Maria Felix. One can only assume a friendship did not arise between the two women. The relationship with Borgnine was also coming to an end. They finally divorced 3 June 1963. She never spoke ill of him. The same cannot be said for him. Katy Jurado then took another 3-year hiatus from filming. She had a lovely home in Cuernavaca and could enjoy her children and young grandchildren.

But by 1966 she was ready to go to the US once a year to make films, starting with SMOKY (3 August 1966), about the famous horse beloved by readers since the 1930s, followed by A COVENANT WITH DEATH (15 February 1967), in which she was given the burden of playing the wife of George Maharis, and ending with STAY AWAY, JOE (8 March 1968), in which she happily played Elvis’s “Indian mother,” just as Dolores del Rio had done eight years earlier in FLAMING STAR. Jurado described “the King” as “a little boy who never grew up.” Then came a period of decline, starting with a Mexican horror film, followed by UN HOMBRE SOLO (shot in Spain by an unremarkable German director, co-starring nonentities, and released 24 May 1969). In 1970 she received 25th billing in FALTAS A LA MORAL. She was only 43 years old and seemed to be considered a has-been.

Then the son of her former agent Paul Kohner came to her rescue. Pancho Kohner, just beginning his career as a producer, also decided to direct his first film (of two), THE BRIDGE IN THE JUNGLE, adapted from a story by the enigmatic B. Traven and shot in Chiapas, with John Huston as her co-star. However, without much international interest in that film, Jurado followed the path of Bette Davis and Joan Crawford into the realm of horror films, in Jurado’s case RANCHO DEL MIEDO, which had some scenes in the large Panteón de Dolores in Mexico City. It’s sad to think of her running through the cemetery screaming. A glimmer of hope came with her appearance in Peckinpah’s PAT GARRETT AND BILLY THE KID (US release 23 May 1973). That was followed by a really good Mexican 3-story film, FE, ESPERANZA Y CARIDAD (Mexican release 14 February 1974), in which she appeared in the CARIDAD segment directed by rising star director Jorge Fons.

To maintain her character she wouldn’t go home after each day’s shooting but would check into a hotel instead. She was ecstatic to be playing such a strong character again. Once blacklisted musical star Zero Mostel came to Mexico in 1974 to play the part of a cruel landowner in ONCE UPON A SCOUNDREL and Katy secured 2nd billing as one of the townspeople struggling against the tyrant. Various other unremarkable Mexican films followed, but then came LOS ALBAÑILES (Mexican release 23 December 1976), one of the more important Mexican films of the cinematically exploding 1970s. Although billed only sixth, Jurado had the lead female role, since the film was focused on the male construction workers and their struggles with corrupt police and bosses. This came out during a period of extreme social consciousness in the Mexican film industry. Jurado received top billing in EL ELEGIDO, a thriller in 1977, and came to the US to do an episode of Baretta, the Robert Blake TV show.

She co-starred with Anthony Quinn and Dolores del Rio in THE CHILDREN OF SANCHEZ (US release 22 November 1978). And then came another fortunate offer: LA SEDUCCIÓN (Mexican release 27 May 1982), directed by Arturo Ripstein (whom AFS brought to Austin for a retrospective in 2003). Jurado had actually known Ripstein since he was a small child being brought to the studio by his father, producer Alfredo Ripstein, in the 1940s when she was working constantly in the Mexican film industry. She said of the adult director that he was very hard and difficult. Others have said that in the 80s and 90s he was “a shouter” on the set (like Oliver Stone). Nonetheless, she enjoyed working with a noted director again. While shooting a boxing movie BARRIO DE CAMPEONES in 1981, Jurado received word that her son Victor Hugo had been killed in an auto accident in Montemorelos, Nuevo León, her parents’ hometown. His car had pulled up to a stop sign and was hit by a speeding bus.

Jurado was devastated and withdrew from film and TV for nearly three years. She began drinking heavily, showed no interest in life or friendship, and even stopped caring for her appearance. She became quite overweight and smoked incessantly, which caused chronic bronchitis. She spent months in a hospital in Monterrey and underwent various operations. But her previous co-star John Huston brought her out of her dark cave in 1984 by offering her a role in UNDER THE VOLCANO, based on the fascinating novel by Malcolm Lowry and shot in Cuernavaca, so Katy didn’t even need to travel to participate in the film. More TV work followed in Mexico and the US, but mostly she enjoyed her grandchildren and her home in Cuernavaca. But in late 1997 Arturo Ripstein knocked at her door again. The by-now world-famous director asked Jurado to play “Mamá Dorita” in his surreal film EL EVANGELIO DE LAS MARAVILLAS, which would appear in many international film festivals. The 70-year-old Jurado played the leader of a small religious community awaiting the second coming of Christ.

Mamá Dorita finally decides that Christ has come back as a young girl, Tomasa. Katy Jurado loved this role because it was so different from any she had played before. Working with Ripstein on this second film, 15 years after LA SEDUCCIÓN, she found that he had mellowed somewhat and become more humane. For her final performance for the American film industry Jurado traveled to New Mexico to take a small role in Stephen Frears’ THE HI-LO COUNTRY in 1998. Finally, right before her death in 2002, she played the starring role in UN SECRETO DE ESPERANZA, a semi-biographical film about the friendship between an elderly woman and her grandson during two periods of his life, 12 and 29 years-of-age. Jurado’s actual grandson Joaquín Jurado, who has become a rather successful musician, is certain the movie is about the times he spent with his grandmother. UN SECRETO DE ESPERANZA would be Jurado’s sweet farewell to viewers who had watched her for nearly 60 years.

Early in life Katy Jurado had showed impressive strength of will, at a time that not many women could speak out. She insisted, “No one steps on me and the one who tries had better be a brave man.” She was proud that her climb up the ladder of success didn’t depend on any lovers or “padrinos.” She was equally proud that her life contained no scandals. Married just twice, she had the joys of having two children and the sorrow of losing one. But Victor Hugo and daughter Sandra provided eight grandchildren. She was also a benefactor of the poor in Cuernavaca. Without making a big deal of her kindness, she paid for the construction of schools for the poor children in the neighborhood surrounding her beloved home. She enjoyed the countryside, stayed away from cities as much as possible in later life, loved her family, and after getting over the tragedy of losing her son, seems to have had a very lovely life right up until the end. For us she left a wonderful legacy of fascinating personalities in a huge catalog of films. Katy Jurado, Somos Uno (revista), n.d.

IMDB.com, various Katy Jurado films Katy Jurado - IMDb IMDb Actress Katy Jurado was born María Cristina Estela Marcela Jurado García into a wealthy family on January 16, 1924, in Guadalajara, Mexico. Her early years were spent amid luxury until her family's lands were confiscated by the federal government for redistribution to the landless peasantry. Despite the loss of property, the matriarch of the family, her ... See full bio » Born: Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence. a list of 20 people created 07 Dec 2010 a list of 37 people created 07 Apr 2013 a list of 33 people created 03 Mar 2015 a list of 10 people created 6 months ago a list of 904 people created 1 month ago Do you have a demo reel?

Add it to your IMDbPage How much of Katy Jurado's work have you seen? User Polls Nominated for 1 Oscar. Another 11 wins & 3 nominations. See more awards » Known For 1996 Te sigo amando (TV Series) Justina 1985 Lady Blue (TV Series) Dona Maria 1985 Lady Blue (TV Movie) Doña Maria Theresa 1984 a.k.a. Pablo (TV Series) Rosa Maria Rivera 1971 A Little Game (TV Movie) Laura 1970 The Virginian (TV Series) Mama Fe 1969 Any Second Now (TV Movie) Señora Vorhis 1962 The Eleventh Hour (TV Series) Rose Ramirez 1962 Death Valley Days (TV Series) La Tules 1960 The Westerner (TV Series) Carlotta 1957 Playhouse 90 (TV Series) Sister Monica 1952 Mr. & Mrs.

North (TV Series) Lolita Alvarez 1987 Grace Kelly: The American Princess (Video documentary) (thanks) Hide 1961 Here's Hollywood (TV Series) Herself 2008 How the West Was Lost (TV Movie documentary) Mrs. Baker (uncredited) 2006 Historias engarzadas (TV Series documentary) Herself 1990 American Masters (TV Series documentary) Herself 1955 MGM Parade (TV Series) Consuela Chavez / Mrs. Chavez in 'Trial' - Episode #1.4 (1955) ... Consuela Chavez - Episode #1.3 (1955) ... Mrs. Chavez in 'Trial' Related Videos Personal Details Other Works: Unsold pilot: Co-starred (as "Helen Ramirez") in a pilot for a western series called "High Noon", based on the classic Gary Cooper western High Noon (1952), with Peter Fonda starring as Marshal Will Kane's adult son. Publicity Listings: Did You Know? Personal Quote: But you can't always stay the same. I feel sorry for people who try to, though.

One of the most beautiful things in life is to grow old with dignity. Those people - men and women - who clutch their youth, one day they are going to have to admit that they are not young anymore, and what will they do? You have to accept the different phases of your life and find the beauty in each one. See more » Trivia: Grace Kelly's Biography | Grace Kelly Online Grace Kelly's Biography We also have Trivia about Grace and maps of important locations in Grace's life . Grace Patricia Kelly (12 November 1929–14 September 1982) was a beautiful Oscar-winning actress, fashion icon, and princess of Monaco. Grace Patricia Kelly was born in Philadelphia, Pennsylvania to John and Margaret Kelly. John B. Kelly was a wealthy contractor. At a young age, Grace decided she wanted to become an actress, and studied acting (primarily theater) at New York City's American Academy of Dramatic Art and worked as a stage actress and model before moving to Hollywood. When in New York, Grace promoted Old Gold cigarettes and appeared on the covers of magazines such as Cosmopolitan and Redbook.

Grace debuted in the film 14 Hours , in a minor supporting role, but then starred in High Noon , in which she played a "mousey" Quaker bride. Grace then appeared in Mogambo , which won her an Oscar nomination and a Golden Globe for Best Supporting Actress. Her work in High Noon and a screen test for the film Taxi piqued the interest of director Alfred Hitchcock, who, with the aid of Edith Head, pruned Grace into his ideal of the elegant, beautiful blonde. She gave Hitchcock wonderful performances in Dial M for Murder , Rear Window , and To Catch a Thief . Grace went against Hitchcock's glamorized vision of her for the film The Country Girl , which won her the Golden Globe and the Oscar for Best Actress in a Leading Role of 1954. The success of the song " True Love " from the movie High Society earned Grace a gold record. In 1956, she was voted the Golden Globe's World Film Favorite Actor, Female. Later that year, she married Prince Rainier Grimaldi III of Monaco to become Her Serene Highness Princess Grace of Monaco.

As a princess, she gave up her successful acting career, in which she had made eleven films. She had three children: Princess Caroline, Prince Albert, and Princess Stéphanie. Grace died on 14 September 1982 after her car went off a road in the cliffs of Monaco. Information for this biography was taken from these sources .

Question: Which actress provided the love interest in the film High Noon ?
Answer: Grace Kelly