quality:correction, stylistic:tone, structural:scholar_edition
1932–1937: Theater and early film roles

Stewart performed in bit parts in the University Players' productions in Cape Cod during the summer of 1932. The company's directors included Joshua Logan, Bretaigne Windust, and Charles Leatherbee, and amongst its other actors were married couple Henry Fonda and Margaret Sullavan, who became Stewart's close friends. At the end of the season, Stewart moved to New York with his Players friends Logan, Myron McCormick, and newly single Henry Fonda. Along with McCormick, Stewart debuted on Broadway in the brief run of Carry Nation and a few weeks later – again with McCormick – appeared as a chauffeur in the comedy Goodbye Again, in which he had a walk-on line. The New Yorker commented, "Mr. James Stewart's chauffeur... comes on for three minutes and walks off to a round of spontaneous applause." Following the seven-month run of Goodbye Again, Stewart took a stage manager position in Boston, but was fired after frequently missing his cues. Returning to New York, he then landed a small part in Spring in Autumn and a role in All Good Americans, where he was required to throw a banjo out of the window. Brooks Atkinson of The New York Times wrote, "Throwing a $250 banjo out of the window at the concierge is constructive abuse and should be virtuously applauded." Both plays folded after only short runs, and Stewart began to think about going back to his studies.

Stewart was convinced to continue acting when he was cast in the lead role of Yellow Jack, playing a soldier who becomes the subject of a yellow fever experiment. It premiered at the Martin Beck Theater in March 1934. Stewart received unanimous praise from the critics, but the play proved unpopular with audiences and folded by June. During the summer, Stewart made his film debut with an unbilled appearance in the Shemp Howard comedy short Art Trouble (1934), filmed in Brooklyn, and acted in summer stock productions of We Die Exquisitely and All Paris Knows at the Red Barn Theater on Long Island. In the fall, he again received excellent reviews for his role in Divided by Three at the Ethel Barrymore Theatre, which he followed with the modestly successful Page Miss Glory and the critical failure A Journey By Night in spring 1935.

Soon after A Journey By Night ended, Stewart signed a seven-year contract with Metro-Goldwyn-Mayer (MGM), orchestrated by talent scout Bill Grady, who had been tracking Stewart's career since seeing him perform in Princeton. His first Hollywood role was a minor appearance in the Spencer Tracy vehicle The Murder Man (1935). His performance was largely ignored by critics, although the New York Herald Tribune, remembering him in Yellow Jack, called him "wasted in a bit that he handles with characteristically engaging skill". As MGM did not see leading-man material in Stewart, described by biographer Michael D. Rinella as a "lanky young bumpkin with a hesitant manner of speech" during this time, his agent Leland Hayward decided that the best path for him would be through loan-outs to other studios.

Stewart had only a small role in his second MGM film, the hit musical Rose Marie (1936), but it led to his casting in seven other films within one year, from Next Time We Love to After the Thin Man. He also received crucial help from his University Players friend Margaret Sullavan, who campaigned for him to be her leading man in the Universal romantic comedy Next Time We Love (1936), filmed right after Rose Marie. Sullavan rehearsed extensively with him, boosting his confidence and helping him incorporate his mannerisms and boyishness into his screen persona. Next Time We Love was a box-office success and received mostly positive reviews, leading Stewart to be noticed by critics and MGM executives. Time stated that "the chief significance of in the progress of the cinema industry is likely to reside in the presence in its cast of James Stewart", and The New York Times called him "a welcome addition to the roster of Hollywood's leading men".

Stewart followed Next Time We Love with supporting roles in two commercially successful romantic comedies, Wife vs. Secretary (1936) with Clark Gable and Myrna Loy and Small Town Girl (1936). In both, he played the betrayed boyfriend of the leading lady, portrayed by Jean Harlow and Janet Gaynor, respectively. Both films garnered him some good reviews. After an appearance in the short subject Important News (1936), Stewart had his first top-billed role in the low-budget "B" movie Speed (1936), in which he played a mechanic and speed driver competing in the Indianapolis 500. The film was a critical and commercial failure, although Frank Nugent of The New York Times stated that "Mr. Stewart perform as pleasantly as possible."

Stewart's last three film releases of 1936 were all box-office successes. He had only a bit part in The Gorgeous Hussy, but a starring role in the musical Born to Dance with Eleanor Powell. His performance in the latter was not well-received: The New York Times stated that his "singing and dancing will (fortunately) never win him a song-and-dance-man classification", and Variety called "his singing and dancing rather painful on their own", although it otherwise found Stewart aptly cast in an "assignment calls for a shy youth". Stewart's last film to be released in 1936, After the Thin Man, features a shattering emotional climax rendered by Stewart. Kate Cameron of the New York Daily News wrote that he "has one grand scene in which he demonstrates most effectively that he is something more than a musical comedy juvenile".

For his next film, the romantic drama Seventh Heaven (1937), Stewart was loaned to 20th Century-Fox to play a Parisian sewer worker in a remake of Frank Borzage 's silent classic released a decade earlier. He and co-star Simone Simon were miscast, and the film was a critical and commercial failure. William Boehnel of the New York World-Telegram called Stewart's performance emotionless, and Eileen Creelman of The New York Sun wrote that he made little attempt to look or sound French. Stewart's next film, The Last Gangster (1937) starring Edward G. Robinson, was also a failure, but it was followed by a critically acclaimed performance in Navy Blue and Gold (1937) as a football player at the United States Naval Academy. The film was a box-office success and earned Stewart the best reviews of his career up to that point. The New York Times wrote "the ending leaves us with the conviction that James Stewart is a sincere and likable triple-threat man in the backfield" and Variety called his performance "fine".