Friendships help when it comes time for actors and actresses to advance their careers. James Stewart had friends at just the right places in his first year working in film. His friendship with actress Margaret Sullivan proved a crucial step to his becoming one of Hollywood's most popular actors when she heavily lobbied her studio for him as a replacement in January 1936's "Next Time We Love." It was the first of four films the two appeared in together.
Stewart had met Sullivan in his first stage acting gig with the University Players in Cape Cod in the summer of 1932. He worked alongside Sullivan and her husband Henry Fonda with the same Massachusetts company. Sullivan's marriage with Fonda didn't last long, but Stewart's friendship with both endured well after the Cape's theatre summer season ended. Stewart moved to New York City with the now-single Fonda as a roommate to find steady employment on Broadway. Meanwhile Sullivan, relocating to Hollywood, always kept in contact with the two after she signed a short contract with Universal Pictures in 1933. Stewart, after spotted by an MGM talent scout, followed her footpath to Tinseltown, and played in a couple of small roles with the studio, including 1936's "Rose Marie." After seeing her co-star bow out of "Next Time We Love," Sullivan twisted Universal's arm to get MGM to loan-out Stewart as his replacement. The studio agreed, and made arrangements to get Stewart his biggest role on the screen yet.
Filming the early scenes for "Next Time We Love" did not go well for Stewart in the eyes of its director Edward Griffith. He started hectoring the young actor, making him nervous and causing him to stumble over his lines. Sullivan, seeing her friend's career flushing down the toilet right before her eyes, spent the following nights coaching Stewart, instructing him to tamper down his unsteady mannerisms and his clipped delivery Of speaking. After a few days, the director could see a huge difference. "It was Margaret Sullivan who made James Stewart a star," Griffith later said. When the actor returned to his contracted studio, MGM talent scout Bill Grady, who had picked out Stewart on the Broadway stage, noticed a new person. "That boy came back from Universal so changed I hardly recognized him."
"Next Time We Love," adapted from Ursula Parrott's 1935 British novel 'Next Time We Live,' involves Stewart as Christopher Tyler, a reporter who is offered a lucrative overseas position he can't refuse. Meanwhile, his wife Cicely (Sullivan)stays home while pursuing a stage career assisted by Stewart's best friend, Tommy Abbott (Raymond Milland), an insider to Broadway's biggest honchos.
It's a newly refreshed Stewart that makes "Next Time We Live" so noteworthy. Film reviewer David Krauss was startled by the transformation of the new star. "Confident, relaxed, and seemingly so attuned to the finer points of film acting, he comes across as the consummate professional and files a deeply sensitive, unaffected performance that previews the gallery of diverse yet natural characterizations he would etch on celluloid over the next half century." Krauss was equally effusive about Sullivan. "Whether warm, loving, noble, headstrong, resentful, recalcitrant, or devastated, Sullavan is always genuine, and the chemistry she creates with Stewart is both comfortable and crackling. It's not surprising the two made four movies together. I only wish they made more."
Stewart had met Sullivan in his first stage acting gig with the University Players in Cape Cod in the summer of 1932. He worked alongside Sullivan and her husband Henry Fonda with the same Massachusetts company. Sullivan's marriage with Fonda didn't last long, but Stewart's friendship with both endured well after the Cape's theatre summer season ended. Stewart moved to New York City with the now-single Fonda as a roommate to find steady employment on Broadway. Meanwhile Sullivan, relocating to Hollywood, always kept in contact with the two after she signed a short contract with Universal Pictures in 1933. Stewart, after spotted by an MGM talent scout, followed her footpath to Tinseltown, and played in a couple of small roles with the studio, including 1936's "Rose Marie." After seeing her co-star bow out of "Next Time We Love," Sullivan twisted Universal's arm to get MGM to loan-out Stewart as his replacement. The studio agreed, and made arrangements to get Stewart his biggest role on the screen yet.
Filming the early scenes for "Next Time We Love" did not go well for Stewart in the eyes of its director Edward Griffith. He started hectoring the young actor, making him nervous and causing him to stumble over his lines. Sullivan, seeing her friend's career flushing down the toilet right before her eyes, spent the following nights coaching Stewart, instructing him to tamper down his unsteady mannerisms and his clipped delivery Of speaking. After a few days, the director could see a huge difference. "It was Margaret Sullivan who made James Stewart a star," Griffith later said. When the actor returned to his contracted studio, MGM talent scout Bill Grady, who had picked out Stewart on the Broadway stage, noticed a new person. "That boy came back from Universal so changed I hardly recognized him."
"Next Time We Love," adapted from Ursula Parrott's 1935 British novel 'Next Time We Live,' involves Stewart as Christopher Tyler, a reporter who is offered a lucrative overseas position he can't refuse. Meanwhile, his wife Cicely (Sullivan)stays home while pursuing a stage career assisted by Stewart's best friend, Tommy Abbott (Raymond Milland), an insider to Broadway's biggest honchos.
It's a newly refreshed Stewart that makes "Next Time We Live" so noteworthy. Film reviewer David Krauss was startled by the transformation of the new star. "Confident, relaxed, and seemingly so attuned to the finer points of film acting, he comes across as the consummate professional and files a deeply sensitive, unaffected performance that previews the gallery of diverse yet natural characterizations he would etch on celluloid over the next half century." Krauss was equally effusive about Sullivan. "Whether warm, loving, noble, headstrong, resentful, recalcitrant, or devastated, Sullavan is always genuine, and the chemistry she creates with Stewart is both comfortable and crackling. It's not surprising the two made four movies together. I only wish they made more."