This is a delightfully ingenious comedy with Leslie Howard in one of his most spiritual roles, transmuting between 1784 and 1933. The conversation is enjoyably brilliant throughout like in all Leslie Howard's films, and so is the charming music. Frank Lloyd made some of the best films in the 1930s, and this is one of them although rather forgotten today and neglected while its wit transcends practically everything in the 30s. Particularly amusing is the play with confusions, and even Sir Joshua Reynolds is involved in it and is terrified. This is one of those many outstanding old films that are worth restoring and rediscovering indeed.

Most of us feel dissatisfied with the time in which they are living (I was five in the year 1964, to which I have long felt a powerful desire to return when I have the time, and will this time be paying more attention); and the feeling that the past is still out there somewhere going about its business continues to resonate through such disparate works of fiction as 'Wild Strawberries' and 'Goodnight Sweetheart'.Through the medium of that authentic miracle of time travel, YouTube, having just watched the 1951 Technicolor version with Tyrone Power of John L. Balderston's West End hit of 1926 I was immediately able to summon up like magic the earlier version adapted by Balderston himself with the star of the Broadway production of 1929, Leslie Howard; which for many years was once a lost film. (As a visitor from the future, I was intrigued to discover that Howard's fiancée Kate Pettigrew was played by the British stage actress Valerie Taylor - also from the original Broadway cast - who I know as a middle-aged woman from 'Went the Day Well' in 1942.) The romance between Peter Standish and Helen Pettigrew engages the interest far more in this version, which has that pre-Code deftness of touch (Heather Angel as Helen also wears a chic thirties suit with a fur collar easily as eye-catching as her 18th Century creations).With the benefit of hindsight, it's sobering to be aware that Howard, Power and Christopher Reeve (star of 'Somewhere in Time') were all taken before their time; something only a visitor from the future - or a film viewer - could know.

Now I know why the chemistry of Leslie Howard worked so well in GWTW. He was most dashing! The attempt to portray time travel and it's fearful interpretations was impressive and laid the groundwork for "Back to the Future" and others as well.I enjoyed the peculiar moments of slip ups in modern, for 1933, language and mannerisms in 1784 London. The actual transitions from one time to another was awkward but having limited expectations this presented no problem from an otherwise exciting plot.My biggest issue was the glimpse of our future with the wars, speed, violence, and loud noise complimented with a grand finale fireworks display. Who would want to be part of that mess? Well, a plot device to prevent anyone switching places, I assume the trap had to be set.God's timeframe seemed to provide little satisfaction unless one passes at 23. However, it was a romantic interlude that is seldom created even in today's films. Interesting to note this may have been the first film mention of Georgiana, Duchess of Devonshire, who was portrayed in 2008 "The Duchess".High recommend for Howard fans, time travel, British vs Colonials, and eternal love.

BERKELEY SQUARE was a success d'estime of the late Twenties and early Thirties. Based on a short story - THE SENSE OF THE PAST - by Henry James, it tells the story of how Peter Standish (Leslie Howard) travels back in time from the contemporary world into the late eighteenth century, and discovers to his cost that life isn't quite as idyllic as the history books might suggest. John L. Balderston's script isn't without its sentimental moments, but generally takes a hard-nosed look at the ways in which individuals remain as self-centered in the past as they might have been over a century ago. Leslie Howard, who created the past of Standish on the Broadway stage, here recreates his part; he doesn't have to do much other than to look bewildered, which he achieves very competently. Valerie Taylor makes an ideal romantic interest. Director Frank Lloyd was one of Twentieth Century-Fox's most competent contract directors; his version of Noel Coward's CAVALCADE (1933), based on another theatrical hit, is particularly memorable. In BERKELEY SQUARE he creates a brisk narrative, containing a memorable series of transitions between past and present. Definitely worth a look if a copy of the film can be found.