Next Time We Love (1936) Poster

Next Time We Love (1936)

  • Rate: 7.0/10 total 223 votes 
  • Genre: Drama | Romance
  • Release Date: 30 January 1936 (USA)
  • Runtime: 87 min
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Next Time We Love (1936)


Next Time We Love 1936tt0028029.jpg poster

  • IMDb page: Next Time We Love (1936)
  • Rate: 7.0/10 total 223 votes 
  • Genre: Drama | Romance
  • Release Date: 30 January 1936 (USA)
  • Runtime: 87 min
  • Director: Edward H. Griffith
  • Stars: Margaret Sullavan, James Stewart and Ray Milland|See full cast and crew
  • Original Music By: Franz Waxman (uncredited)  
  • Soundtrack: Symphony No. 3 (Rhenish): 1st movement
  • Sound Mix: Mono (Western Electric Noiseless Recording Sound System)
  • Plot Keyword: Foreign Correspondent | Train | Marriage | Manhattan New York City | Fired From The Job

Writing Credits By:

  • Melville Baker (screenplay)
  • Ursula Parrott (story "Say Goodbye Again")
  • Doris Anderson  contributor to screenplay construction (uncredited)
  • Rose Franken  contributor to screenplay construction (uncredited)
  • Preston Sturges  contributor to screenplay construction (uncredited)
  • Josephine Tey  contract writer (uncredited)

Known Trivia

  • “Lux Radio Theater” broadcast a 60 minute radio adaptation of the movie on November 7, 1938 with Margaret Sullavan reprising her film role.
  • “The Screen Guild Theater” broadcast a 30 minute radio adaptation of the movie on May 3, 1948 with Margaret Sullavan reprising her film role.
  • “Screen Director’s Playhouse” broadcast a 60 minute radio adaptation of the movie on March 29, 1951 with James Stewart reprising his film role.

Plot: A young married couple's relationship becomes strained when he is assigned overseas as a foreign correspondent and she becomes a major stage star. |  »

Story: A young married couple's relationship becomes strained when he is assigned overseas as a foreign correspondent and she becomes a major stage star.

FullCast & Crew

Produced By:

  • Paul Kohner known as producer
  • Fred S. Meyer known as executive producer (uncredited)

FullCast & Crew:

  • Margaret Sullavan known as Cicely Tyler
  • James Stewart known as Christopher Tyler
  • Ray Milland known as Tommy Abbott (as Raymond Milland)
  • Grant Mitchell known as Michael Jennings
  • Robert McWade known as Frank Carteret
  • Anna Demetrio known as Madame Donato
  • Ronnie Cosby known as Kit (as Ronald Cosby)
  • Arthur Aylesworth known as Secretary (uncredited)
  • Tommy Bond known as Pesky Kid (uncredited)
  • Harry C. Bradley known as Desk Clerk (uncredited)
  • Daisy Bufford known as Maid (uncredited)
  • Nat Carr known as Assistant (uncredited)
  • Jack Cheatham known as Taxi Driver (uncredited)
  • Jack Daley known as Conductor (uncredited)
  • Charles Fallon known as Prof. Dindet (uncredited)
  • Otto Fries known as Conductor (uncredited)
  • Billy Gratton known as Kit at Age Three (uncredited)
  • Oscar 'Dutch' Hendrian known as Taxi Driver (uncredited)
  • Al Hill known as Taxi Driver (uncredited)
  • Gottlieb Huber known as Swiss Porter (uncredited)
  • Alfred P. James known as Aquarium Attendant (uncredited)
  • John 'Dusty' King known as Juvenile (uncredited)
  • Ludwig Lowry known as Waiter (uncredited)
  • Tom Manning known as Character Man (uncredited)
  • Hattie McDaniel known as Hanna (uncredited)
  • Clive Morgan known as Leading Man (uncredited)
  • Miki Morita known as Dr. Ito (uncredited)
  • Philip Morris known as Taxi Driver (uncredited)
  • William H. O'Brien known as Waiter (uncredited)
  • Paddy O'Flynn known as Reporter (uncredited)
  • Eddie Phillips known as Ticket Taker (uncredited)
  • Don Roberts known as City Editor (uncredited)
  • Donna Mae Roberts known as Cigarette Girl (uncredited)
  • Christian Rub known as Otto the Swiss Innkeeper (uncredited)
  • Jacqueline Smylle known as Susan (uncredited)
  • Harry Tracy known as Valet (uncredited)
  • Buddy Williams known as Porter (uncredited)
  • Clark Williams known as Leading Man (uncredited)



Supporting Department

Makeup Department:

  • William Ely known as makeup artist (uncredited)
  • Emily Moore known as hair stylist (uncredited)
  • Jack P. Pierce known as makeup artist (uncredited)




Production Companies:

  • Universal Pictures


  • Universal Pictures (1936) (USA) (theatrical)
  • Realart Pictures (1948) (USA) (theatrical) (re-release)
  • Universal (1937) (France) (theatrical) (as Universal Films S.A.)



Other Stuff

Visual Effects by:

  • John P. Fulton known as special cinematographer

Release Date:

  • USA 30 January 1936
  • France 26 March 1937
  • USA 1 July 1948 (re-release)



Filmography links and data courtesy of The Internet Movie Database

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Posted on September 3, 2012 by Movies DVD New Releases Blu-ray in Movies | Tags: , , .


  1. wmorrow59 from Westchester County, NY
    03 Sep 2012, 7:18 pm

    Sight unseen this movie has a number of factors in its favor: 1) itstars two of the most charismatic performers of Hollywood's Golden Age,James Stewart & Margaret Sullavan, paired for the first time; 2) itfeatures the underrated Ray Milland as Jimmy's best friend, who becomesthe third player in their romantic triangle; 3) several of Hollywood'sfamiliar character actors appear in supporting roles (Grant Mitchell,Hattie McDaniel, Christian Rub, etc.), and 4) its story was born in thetypewriter of the legendary Preston Sturges, one of the all-time greatscreenwriters. According to various biographies of Sturges he spent acouple of weeks on the first draft of this drama while simultaneouslycranking out a comedy for Carole Lombard called Love Before Breakfast.Sturges' script for Next Time We Love was them handed off to an obscurewriter named Melville Baker who revised it, but in the end only Bakerreceived screen credit. It would appear that this project meant littleto Sturges, but, bearing in mind the memorable results when MargaretSullavan took the title role of his brilliant adaptation of The GoodFairy in 1935, I sat down to watch this one hoping it might also besomething special.

    Unfortunately, and despite a decent opening half-hour or so, this filmultimately disappoints. Stewart and Sullavan have good chemistry andmake a believable couple. We follow the course of their relationshipwith interest as they marry on impulse and Stewart aggressively pursuesa career in journalism while Sullavan takes a more casual interest instage acting, while best friend Milland maintains a steady presence inthe background. Stewart & Sullavan have a baby, but trouble soondevelops: her career in the theater suddenly takes off just as hisprogress at the newspaper hits a brick wall. Tension mounts as shebecomes the breadwinner after he screws up a major assignment and isfired. They separate, and Sullavan flourishes while Stewart avoidscoming home and stays out of the picture. Milland, at this point,finally steps forward and makes his feelings known.

    More plot twists come along, but for me the movie starts to fizzlealong about the time Sullavan's acting career takes off. Things happentoo abruptly, without the appropriate build-up: all of a sudden, she'sa famous and powerful Broadway star. It looks as if some backstagescenes were filmed but then cut, suggested by the fact that GrantMitchell, who plays a theatrical producer, receives fourth billing inthe credits though he appears in only one brief scene. From that pointonward Sullavan's stardom seems unreal while the behavior of Stewart'scharacter becomes increasingly melodramatic and unbelievable. In thelater scenes none of the main characters behave like recognizable humanbeings, and despite the best efforts of these estimable actors we nolonger believe anything they're saying or doing by the climax. Thestory raises a provocative issue, i.e. the conflict that results when awife earns more money than her husband and thus wields more power, butthe filmmakers chickened out without really addressing the matter,choosing a sappy "Hollywood" resolution over anything genuinelysatisfying.

    Next Time We Love is fairly interesting nonetheless, worth seeing ifyou enjoy Hollywood melodramas of the '30s and certainly if you're afan of the stars, but in the end it doesn't amount to much. Fans ofPreston Sturges will be hard pressed to recognize his contribution, andmay prefer to skip this one and enjoy one of his more characteristicworks instead.

  2. rooprect from New York City
    03 Sep 2012, 7:18 pm

    This is a very progressive film with themes way ahead of the times evenfor today. What does that mean? Usually when someone calls a film"progressive" it means it's hypersexed, banned by the Pope or hasgratuitous shots of belly buttons. Right, well, none of that. NEXT TIMEWE LOVE is progressive because it delves into interpersonal issues thatsimply "didn't exist" in the golden age of Hollywood.

    A wife who chooses career over family? Preposterous. A husband/fatherwho neglects the upbringing of his child? Outrageous. A marriage thatis mutually tolerant of infidelity? Sacrilegious. Hollywood hashistorically depicted the marriage ceremony as the proverbial "happilyever after"; yet in this film we get a sober and realistic view of howlife really works.

    There are no dramatic fireworks, no cartoonish liaisons, no screamingor breaking things like we might get in a modern film dealing with thissubject. Instead, it's extremely subtle and believable. There's notmuch flashy plot to sink your MTV-starved mind into, but if instead youlike to digest your films slowly and comprehend the meaning behindevery gesture–the tension in Margaret Sullivan's spine, the repressedtorment in Jimmy Stewart's posture, the way a cigarette can be worth athousand words when lit at the perfect moment–then this film is foryou.

    One thing worth mentioning… this is one of the few films that handlesthe aging of characters in a credible manner. Margaret goes from agiddy schoolgirl to a mature woman of the world. Jimmy goes from abrash adventurer to a pensive introvert. The makeup, hairstyles,clothes and especially the way the actors carry themselves convey thepassage of time as the film progresses over a decade (perhaps mirroringthe awakening of a nation from the roaring 20s to the tougher timesthat followed). The climactic hotel meeting near the end of the filmpresents two completely different personalities from what we originallymet; you could almost believe that it was played by two new actors, butno, we owe it all to the fantastic acting & direction of this film.

  3. Daryl Chin (lqualls-dchin) from Brooklyn, New York
    03 Sep 2012, 7:18 pm

    Though in many ways a soapy tearjerker, this movie is one of many 1930sdramas with a surprisingly adult perspective, with sophisticated attitudestowards marriage, infidelity and divorce. It helps that James Stewart andMargaret Sullavan are incredibly well-matched: you’re able to sympathizewith both partners. All in all, an entertaining melodrama about howclashingcareers can strain a marriage, and a remarkably modern look at love versusambition.

  4. bkoganbing from Buffalo, New York
    03 Sep 2012, 7:18 pm

    By the time her fifth film was ready to be launched Margaret Sullavanhad achieved a position of some clout with her original studioUniversal Pictures. She used that clout to get as her leading man, ayoung player she knew from Broadway as the best friend of her thenhusband Henry Fonda. Sullavan got Carl Laemmle to get Louis B. Mayer toloan him James Stewart and from Paramount as the second lead she gotRay Milland.

    But Stewart was her project and she more than director Edward Griffithgot him through Next Time We Love to favorable notices. This wasStewart's highest billing yet, co-starring to Margaret Sullavan and hemade the most of it. They did three more films together and in only oneof them did either Sullavan or Stewart not die in. They were the kingand queen of bittersweet romances back in the day.

    Sullavan is highly successful stage star and Stewart is a reporter withambitions to be an international correspondent. Sullavan might havebeen better off marrying Ray Milland who is a producer, but somethingabout the shy and stammering Jimmy wins her heart and that would be thefirst in a long line of female hearts on the screen to feel that way.

    Of course being an international correspondent does keep Stewart away alot and Margaret does not want to give up a successful stage careerthat's just getting started. Even with the arrival of a baby boy theproblems only increase until a really heavy crisis comes on thatoverwhelms all.

    Next Time We Love is an intelligent mature drama that holds up well andI'm surprised has not been remade. I could see a Cate Blanchett or aGwyneth Paltrow in Sullavan's role with possibly Matthew McConaughey inthe Stewart part in a remake today. Somebody in Hollywood take note.

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