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I have to take exception to other reviewers calling Time Limit, a courtroom drama. There are no scenes in any courtroom, military or civilian. Still it's a very engrossing story.

Richard Widmark is acting as an investigative officer for the Judge Advocate General's Office trying to ascertain if there are enough facts to bring Richard Basehart to trial for treason. Basehart was a prisoner of war in Korea who is accused of collaborating with the enemy.

Through a lot of patient probing of Basehart and others, Widmark arrives at a very ugly story that while it doesn't totally exonerate Basehart it does give him the basis for a defense. So much so that Widmark requests he be assigned as Basehart's attorney when he does come up for court martial.

Time Limit ran for 127 performances on Broadway in 1956 and starred Arthur Kennedy and Richard Kiley in the roles Widmark and Basehart play. Widmark's good friend Karl Malden did this one time only job of directing and gets good performances from his cast.

Time Limit asks a lot of disturbing questions about the behavior of prisoners of war and whether we expect too much from them. Ironically when the USS Pueblo was taken by the North Koreans in the late sixties, these same questions were asked for real.

To me, Richard Widmark's best film is Time Limit. It's about an army inquest into a soldier who admits that he helped the enemy when he was a POW during the Korean war. Widmark is the Colonel in charge of the investigation, and Richard "He Walked By Night" Basehart brings his A-game to the role of the soldier. Any other colonel might just connect the dots and recommend a court martial - Basehart's Maj. Harry Cargill admits he gave broadcasts for the North Koreans, signed a paper saying the Americans were doing germ warfare, and was attempting to indoctrinate the other POWs in formal "classes" that the North Koreans had to try to brainwash them. All of the POWs in the same camp he was in verify that Cargill did these things.

But Cargill refuses to tell Widmark's Colonel William Edwards WHY. And he doesn't seem to care he could be, heck, probably will be executed for treason without some defense. With Cargill's past stellar military record, including in WWII, Edwards will not finish this investigation until he gets a "why". But Cargill has talked to nobody about why he did what he did - not even his wife. And Colonel Edwards is being pressured by his superior, a General whose son died in the same POW camp that Cargill was in, and even by Martin Balsam as a particularly irritating sergeant, to recommend prosecution and wash his hands of the matter.

And then Edwards notices that the descriptions of the back-to-back deaths of two soldiers in the POW camp the day before Cargill seemed to turn traitor are identical - as in word for word each time by each soldier. Is there a Manchurian Candidate situation going on here, or something else entirely? The plot twist at the end is the farthest thing from a gimmick, and is infinitely better presented and far less Hollywoodish than the sanctimonious speech by Jose Ferrer at the end of The Caine Mutiny, although I like that film too, for different reasons.

Check it out if you get the chance. WWII films always seem to get the spotlight, but this one is a forgotten jewel about a forgotten war.

Richard Widmark exudes concern and empathy as an army colonel investigating the circumstances behind a charge of treason. The film also contains effective performances by Richard Basehart, as the accused traitor, a major who shares a secret he is unwilling to reveal, and a young Rip Torn as a lieutenant who is also willing to keep the secret even though he knows it will lead to a miscarriage of justice. The film is based on a play, and Karl Malden, in his only directing assignment, tries hard to open it up, but most of the scenes take place in Widmark's office, and there are way too many point of view shots of one person talking while another listens. Malden does make effective use of a few flashbacks to a frigid P.O.W. barracks in North Korea, and there are some interesting shots of the military base at Governors Island in New York City, but the film suffers somewhat from staginess. Piercing, discordant, almost alarmingly loud music by Fred Steiner punctuates scenes in the P.O.W. camps, where a complex mixture of motives lead to actions that have devastating consequences.

I had seen Time Limit three times before, always greatly admiring and appreciating the taut court-martial drama. I find it unfortunate that Malden never took another director's turn after such an impressive debut. The acting and direction still hold up well with tour-de-force performances by Basehart and Widmark. These are complemented nicely by dead-on portrayals by Carl Benton Reid, Rip Torn, Martin Balsam, and Yale Wexler as far less humane military characters. Dolores Costello and June Lockhart also give strong performances.

But, the reason I write this today is to comment upon how timely Time Limit is to today's POW controversies. In this regard, I consider the 1962 film "the Hook" with Kirk Douglas almost as a companion piece. The questions are the same. How far should a soldier suppress his humanity in the name of the Army Code? How accountable should a soldier be held who defies the code in order to act in accordance with his conscience? How accountable should a soldier be held who obeys orders later judged to be inhumane? All these are central issues in wake of the recent Abu Gharib controversies.

Time Limit does an excellent job of examining these dilemmas and convincing those of us who weren't already convinced that there are no easy answers. War, by its nature, is an inhumane activity, ordered by humans and executed by humans who to accomplish their orders must deny within themselves subjugate the very humanity that gives each of us his or her purpose in life. Time Limit and The Hook both provide thoughtful and fairly objective examinations of the issues involved.

Time Limit has always been worth watching. Its renewed relevancy just makes it even more so.

Across the frigid nightmare that is the Korean War, there are a thousand nameless graves over which a like amount of ghosts hover. Those haunting's are what drive American writers to pen as many stories onto the pages of that Forgotten War. One of those superb writers is Henry Denker who wrote this story called " Time Limit. " It takes place in one of the many American Army units captured and imprisoned in a P.O.W. camps by the North Koreans. This central story is about one, Major Harry Cargill (Richard Basehart) who having survived the war is now arrested and faces General Court martial and death by firing squad. To see Cargill is given every opportunity to defend himself, Gen. J. Connors (Carl Reid) assigns Col. William Edwards (Richard Widmark) who takes his job seriously. Two surprises hamper Edwards. One, Cargill wants to plead guilty and offers no defense at his trial. Most of the men who come forward to testify agree as to his guilt and find no reason to stop the execution. With the great actor, Karl Malden directing this film and casting such heavies such as Martin Balsam, Rip Torn, Yale Wexler and June Lockhart, this assembly make for a Classic. The movie is assured success with the fine performances and the stark Black and White reality of the Korean War. Excellent vehicle for both Basehart and Widmark. Easilly recommended. ****

This is a fantastic piece of work. To start things off, the casting is superb with Richard Basehart, Richard Widmark, Martin Balsam, Rip Torn, June Lockhart, and Carl Benton Reid. The editing and cinematography are sharp, crisp, and electric. This was filmed in black & white, and I am convinced that color would have ruined the tension which is present throughout the whole movie. What really makes this movie work is the top-notch directing of Karl Malden (the only movie he ever directed). What I absolutely do not understand is why this excellent film is not available for purchase. If you ever get a chance to see this movie, DO SEE IT! Request this film. Maybe one of the movie channels will show it.

Time Limit (1957)

*** 1/2 (out of 4)

Hard-hitting drama about Maj. Harry Cagill (Richard Basehart) who is brought up on charges of treason after being in a Korean War camp and giving information to the enemy. Once back in the states Col. Edwards (Richard Widmark) tries to understand what made him crack but he refuses to talk and all of his men give the same strange story, which doesn't make enough sense to Edwards. This film isn't very well known today, which is a shame but I'm going to guess that part of the reason is that it was released in the same year as both 12 ANGRY MEN and WITNESS FOR THE PROSECUTION. All three films deal with twists and turns within a court setting, although this film here just deals with an investigation as we don't get to actually step inside the courtroom. With that said, all three films share a lot in common but this film manages to ask some pretty hard questions and it doesn't pull any punches with the answer. The film is brutally frank in its subject matter and even though we don't find the answers we're looking for until the final ten-minutes, the film still manages to pack one major punch after another. I think a lot of credit must go to Malden, in his only adventure as a director, and I do wonder how much influence Elia Kazan had on him. The film has a certain look and feel of ON THE WATERFRONT, which Malden of course made with Kazan. It appears that both films ask a lot of the same questions about bravery, talking and how much one person should take. Seeing as how this one takes place in the military it's clear that there is a political slant going on here as I'm sure many people would have to ask themselves how much torture, sickness and threats of death they could take without talking or trying to save their own skin. The "time limit" of bravery is an interesting question and we get many different answers as to how one person should be. The final ten-minutes is when things really start to break down as we finally get some answers and the twist here has been debated by quite a few reviewers. I personally didn't mind the twist and I think it worked well for what the film was going for. There were several directions that the film could have went for but the one they selected worked well enough for me. Another major benefit are the performances with Widmark leading the way in a rather laid back performance by the actor who was often shown as being a demanding, strong character. I thought Widmark was very believable playing it so laid back and I think that quiet nature here actually helped the film as it seems he was the only one who didn't want revenge for what had happened but instead just wanted the truth. Basehart is terrific as well in showing the hell that his character is going through. Dolores Michaels is good as Widmark's aide, June Lockhart is very strong in her one scene and Martin Balsam is on hand for some needed comedy relief. This is certainly an emotionally draining picture as the subject matter is rather ugly and the picture doesn't pull any punches. Malden handles the material extremely well and it's a shame we didn't get to see what else he could do behind the camera.

Richard Widmark, Richard Basehart, Rip Torn and Carl Benton Reid star in "Time Limit," a 1957 drama directed by Karl Malden. It's a small drama, based on a play, and very well done. During the Korean War, a military investigator, Colonel Edwards (Widmark) is assigned the case of Major Cargill (Basehart), who was a POW and is accused of treason. Edwards believes Cargill to be innocent of the charges, even though Cargill admits that the charges are correct.

This story is really about making a humane decision rather than following military rules. Since as I write this we are still at war in Iraq, this film remains relevant. The scenes at the prisoner of war camp are excellent and really give one the feel for what these soldiers suffered.

Widmark, Torn and Basehart are especially good - Widmark is a man looking for the answer and striving to be both humane and fair, and Torn is a witness to what occurred - both give terrific performances. Basehart is effective as the accused, who just wants to plead guilty and not explain his actions.

A very thought-provoking drama, certainly a topic that's been covered in bigger films, but still worth seeing.

One of those movies that lets the viewer try and figure out what really is going on without making things obvious throughout - so many angles to take, so many characters to believe as to which one is telling the truth or not. Many great lines - pulled out a piece of paper and pen to write some down. I thought Martin Balsam was perfect as the the staff NCO who seemed a little over the top (not for his acting) - but for what NCO's are (and are not) allowed to get away with in real life :-)

A young June Lockhart (Later on TV's Lost in Space show) plays the wife of the main character. Rip Torn also gives a fine performance as one of the prisoners. Movie really opens up a lot of good discussions on what real truth and what it is not - when it's just information that suits ourselves.

Good movie - one of those ones I did not plan watching.

With Richard Basehart as the man on trial, this is one of his most stunning works I have ever had the pleasure to see. Richard Widmark is also in one of his finest roles as the Colonel who is also Baseharts Lawyer.

As it starts out in a POW Camp somewhere in Korea--you get a gritty feel of what some of those men had to endure--thanks to the fine acting done my Richard Basehart. Thanks to Richard Widmark--you also get a great job done as a man who is trying to up-hold the honors of his profession under incredable pressure from his Commanding Officer--a General, to come up with a quick conviction on Basehart.

I highly recommend this movie as something to see. You will not be disappoiinted in the time you spent in watching this VERY fine film.

I saw this film on TV yesterday while I was channel surfing and I got hooked. Excellent acting, especially by Richard Widmark. I didn't think he had it in him. But the entire cast was excellent, including June Lockhart in a small role It was also nice to see Khigh Dhiegh in a role other than Wo Fat, for which he is most famous.

The film is very low budget. Probably 90% of the money went to the cast. But the plot is excellent and the film doesn't hit you over the head with excess or obvious clichés. Sadly, they don't make films like this anymore. No special effects or car chases and no "stupid is the new smart" attitude.

Superb intelligent dialogue and powerful brilliant performances make this film exciting throughout. Time Limit should belong in everyone's movie collection of great films

When you see this film's first scene, you think you are going to see "The Manchurian Candidate." The first scene deals with apparent brain-washing. Richard Widmark is cast in his usual role as an attorney. Apparently, he got good experience in this part for several years later he was absolutely mesmerizing in "Judgment At Nuremberg."

This film deals with moral conflict. Widmark refuses to accept the fact that Richard Basehart, who is accused of consorting with the North Koreans while held in a prisoner camp during the Korean War, can't wait to get the entire situation over by pleading guilty and not justifying his actions one bit.

There is an excellent supporting cast led by Carl Benton Reid, and a young Rip Torn is also terrific as a powerful witness to what has occurred.

The film adequately captures the dilemma faced by prisoners of war during their capture. The problem with this film that as the truth begins to unfold, it becomes very preachy in nature. This is a usual flaw of such films.

The ending will come as a surprise to many but you will not be surprised by the stoic beliefs of Carl B. Reid.

Interesting, but we've heard this story before somewhere.

The post-war era brought a new-fangled maturity to Hollywood – largely by way of talent coming in from the rival fields of theater and television (and expressed particularly in intense social dramas, often with a dash of psychology) – which considerably invigorated the style of Hollywood film-making in general and even helped towards achieving a more liberal censorship.

The film under review actually bears an affinity to four of the very finest efforts made during this era: Elia Kazan’s ON THE WATERFRONT (1954) – in its depiction of revenge within a close-knit outfit upon a stool pigeon in their midst (which had featured TIME LIMIT director Malden as an actor and Martin Balsam, who also appears here, in a bit part); Stanley Kubrick’s PATHS OF GLORY (1957) – in which army attorney Kirk Douglas also faces opposition (for his meticulous defence) from his superior officers who want to escape personal embarrassment by hastily doing away with the case in question; Sidney Lumet’s TWELVE ANGRY MEN (1957; again with Balsam) – similarly dealing with an investigation packed with twists, as well as not technically being a courtroomer; and John Frankenheimer’s THE MANCHURIAN CANDIDATE (1962) – likewise set during the Korean War and involving brainwashing (plus also featuring Khigh Deigh).

Of course, it’s not quite on the same level of those milestone titles but definitely emerges as an underrated little film – its very sensitive nature (presenting all sides of the equation i.e. duty to rank and country-vs.-loyalty to, and consideration for, one’s fellow man but then leaving the audience to make up its own mind) possibly hindered any chance at Oscar glory, which would have been entirely deserving…or, perhaps, it was simply because there were already two courtroom dramas commanding attention at that year’s ceremony (the afore-mentioned TWELVE ANGRY MEN and Billy Wilder’s equally brilliant WITNESS FOR THE PROSECUTION) – though, ironically, both remained empty-handed after all!

Malden’s sole directing effort is impressive (though, again, not up to, say, Charles Laughton’s THE NIGHT OF THE HUNTER [1955]) and one that gains excellent performances from practically the entire cast. Richard Widmark – a Hollywood star who wasn’t afraid to appear in meaningful films – personally co-produced this one (while others in similar vein he was featured in were NO WAY OUT [1950], JUDGMENT AT NUREMBERG [1961], CHEYENNE AUTUMN [1964] and THE BEDFORD INCIDENT [1965]). Richard Basehart is typically anxious (and compelling) as the soldier accused of treason; he, at least, was awarded with a BAFTA nomination for his work here. Pretty Dolores Michaels is very engaging as Widmark’s sympathetic aide; the only other significant female role, turning up in just one scene, is played by June Lockhart: knowing her chiefly from SHE-WOLF OF London (1946), I was surprised to see her in such a demanding part (at one point, frankly confessing to Widmark her marital problems with Basehart) – but she fills it admirably. Martin Balsam’s character, as Widmark’s well-meaning but more often intrusive colleague, provides the sole concession to humor here – and, consequently, is entirely welcome for it. The film’s compactness, based as it is on a stage play, necessitates that it focuses on just two of the testimonies given by the sixteen soldiers involved in the case being tried – the other, apart from Basehart himself, offers a meaty early role for Rip Torn (which, of course, heralds an eventual revelation concerning his particular character). Carl Benton Reid appears as Widmark’s superior and close friend, a by-the-book military officer of the old school whose integrity is shattered by the end of the film in view of his own son’s unforeseen behavior while in captivity.

A gripping, thought-provoking and emotionally-draining experience (in spite of the horrid quality of the VHS version I watched – copied from Cable TV which, at the time, was suffering from bad reception!), I can’t figure out what’s holding this from getting a decent DVD release: hopefully, Widmark’s recent passing will start the ball rolling in this regard. Ultimately, I have to admit that my response to TIME LIMIT was so strong because it may have been influenced by my own current personal situation: notoriety following the violent death of a relative in the course of some shady activity – and which goes hand in hand with the film’s assertion that a man’s whole life, irrespective of how it was spent, will be judged by people who can’t know the whole story on the strength of that single reckless and deplorable act...

Karl Malden directed this story about a POW in North Korea and Col. William Edwards, (Richard Widmark) is assigned to the investigation of sixteen POW soldiers. Major Harry Cargill, (Richard Basehart) is accused of being brainwashed and the fact that he broke down and gave out important secret material. June Lockhart, (Mrs. Cargil) gave an outstanding supporting role as the wife to Harry Cargill. William Edwards had a hard time trying to get the truth about what really went on in this POW camp and Edwards acted like he wanted to be accused of this crime and even admitted to the treason against the United States. Do not recommend viewing this film, it is rather boring and seems to repeat itself over and over again.

Richard Baseheart makes the most interesting and complex character here as a major veteran from Korea charged with treason for having collaborated with the enemy. Richard Widmark is assigned to investigate the case and tries to find out why he "went over". The problem is that Baseheart refuses to talk about it and to defend himself. Widmark is under his general, whose son died in the same prison camp as Baseheart turned traitor in. It appears the son did not die of the official version of "dysentery" but of something else, which also another prisoner died of, officially diagnosed with "dysentery". They both died within 48 hours, and in the same 48 hours Baseheart turned traitor. There is a mystery here, but Richard Widmark is bent on resolving it.

It's a great play, marvelous acting by all actors involved, very dramatic music enhancing the suspense and drama, and an unforgettable story presenting all the major problems of being a soldier suborned to the army code. That is what is being questioned here, but we never get the answers. Maybe it's quite enough for an argument to go on forever to just put the questions.

Chances are you've never heard of Time Limit. I hadn't heard of it either, but I'm so glad I got my hands on a copy and watched it. In this tense military drama similar to The Rack, Richard Basehart is facing a court-martial for collaborating with the enemy. Richard Widmark is an investigator assigned to the case, and he's not content with Basehart's mute defense. He simply refuses to give any details about the situation or testify in his own defense. All Widmark (and the audience) knows is that while being held as a POW during the Korean War, Basehart made anti-American radio broadcasts and signed similar documents. As the clocks ticks closer to the trial, Widmark makes it his mission to force Basehart to talk.

Richard Basehart couldn't have been any better. He's coiled so tightly with emotion, he's in control of every muscle in his body, from his toes to his nostrils. He's a powder keg of anguish and guilt, and we hope he explodes before the end of the movie. I would have loved to see him get his second Rag Award, but there was so much competition for Supporting Actor of 1957. They were all winners, and I'm very happy for Richard to get such a meaty role.

The other Richard is also very good, but everyone else in the movie (Martin Balsam, June Lockhart, Rip Torn) pales in comparison to Basehart. Widmark has tons of compassion and interest, but he has a definite agenda and knows he has a limited time (pun intended) in which to achieve it. He co-produced the movie and suggested his friend Karl Malden direct it, which gives him an extra heart attachment to the project and its subject matter. I highly recommend this intense emotional drama that will really make you think, and if you like it, check out Paul Newman's version from the previous year, The Rack.

Colonel William Edwards (Richard Widmark) has to pull evidence together and make a recommendation to the General as to whether to proceed with the court martial of Major Harry Cargill (Richard Basehart). According to evidence and testimony, Cargill collaborated with the enemy whilst imprisoned in a North Korean camp. He admits he is guilty of treason a view taken by everyone on camp including the General whose son died in the camp. Edwards though is not satisfied.

A serious, intelligent obviously play based drama with rich dialogue and clearly with something to say. Set almost entirely within one room the tension builds nicely as Edwards faces criticism from all angles and is unable to fathom out why Cargill will not deny any wrong doing - a sort of whydunnit. It has a terrific cast with Widmark and Basehart both on really excellent form and well supported with impressive turns from Martin Balsam and Rip Torn, but also Dolores Michaels as Edwards' smart secretary and June Lockhart as Cargill's distraught wife. If you like courtroom type dramas you'll love this.

"The Forgotten War", the Stalemate that was "The Korean Conflict", an Undeclared American War,

Renamed "Conflict"...to Lesson the Fact and Impact that it was a Disappointing Declaration of a Less than Dominating American Military, (losing 50,000 dead).

That Walked Away with Nothing to Show for the Fiasco Except Questions.

It was Soon After WWII, and was so Troublesome to its Military and Political Leaders, that New Concerns about just What Went Wrong were Forefront.

Not Finding any Real Answers America was Destined to Repeat, almost Verbatim, Losing Once Again 50,000 Soldiers in Viet Nam.

Another Undeclared War.

Immediately Following the Second World War, the Aforementioned Questions as to Why was Open for Answers.

One of the Most Disturbing, besides Being There At All, was the "Psychological Warfare" Explanation of "Brain-Washing". A sort of "New" Reason to Look at What Went Wrong.

Thus we have "Time Limit", a Bare-Bones, Stagy Story of a Squad of American POWs Returning and a Certain Major (Richard Basehart) who is Facing a Court Martial for Treason.

Richard Widmark is a Military Attorney Picked to Defend Basehart, who Refuses to Defend Himself or Give Any Information, other than Pleading Guilty.

His Treason was Based on Indisputable Information and Evidence that He Did Aid the Enemy in More Ways than One.

The Story is an Always Prescient One, Concerning the "Uniform Code of Military Justice", and Soldiers Under Extreme Distress while Undergoing the Brutal Conditions of a POW.

The All-Star Cast All Deliver Edgy Performances that Propel the Film Forward. A Desperately Needed Effect, Considering the Movie Hardly Moves from an Office.

It Succeeds Brilliantly.

Karl Malden, with His Only Directorial Credit, seems to be in Control of the Proceedings, but one gets the Feeling that it was a Group Effort with Everyone's Equal Input.

It's Basically a Filmed-Stage-Play, that Ironically is Atypical of Such Things, but Works Because the Proceedings and Philosophy about War, Soldiers, the "Uniform Code of Military Justice", and the Worst Outcome, besides being KIA or Injured,

is to Become a Prisoner of War and the Resulting Consequences both Personal and Patriotic, are so Powerful.

Acting thoroughbreds Richard Widmark and Richard Basehart shine in Karl Malden's terrifically tense, darkly conspiratorial 1950s military drama 'Time Limit'. The bulk of this ferociously angst-laden drama is set in a blandly austere U. S. military barracks, with excitingly staged flashbacks to a grimly desolated, frost-bitten P. O. W Camp in war-torn N. Korea, wherein an especially beleaguered troop of wretchedly deprived, dysentery -wracked prisoners endure the most terrible privations, and a ragged-looking Major Cargill (Richard Basehart) acts as though he has been indoctrinated, appearing to have turned traitor, and now seemingly unwilling to talk openly about what really happened to him while incarcerated, so a grimly determined Col. William Edwards (Richard Widmark) must strive to break through the far from indomitable wall of silence surrounding the clearly troubled Cargill in order to build a case for mitigating circumstances, otherwise the accused major will be court-martialled on a deadly serious charge of being a wartime traitor!!! This is an engrossing, extremely well-acted feature, with some fine, emotionally nuanced acting, a quality text, and much loved character actor Karl Malden displays great talent as a director, clearly getting creditable performances from his clearly game cast, the splendidly dramatic conclusion is a strong one, rigorously aided by the robustly expressed performance of a youthful rip Torn, 'Time Limit' is an impassioned, rousing military drama, thrillingly told, and brilliantly executed.

In the 1950s, actor Khigh Dhiegh created a niche playing evil Chinese or North Koreans who were experts at psychological warfare and evil! While he was wonderful to watch and made a great recurring villain on "Hawaii Five-O" and made appearances in the original "Manchurian Candidate" (playing essentially the same sort of fun-loving guy), few would have realized that he had no Asian blood whatsoever! Despite his evil chubby Fu Manchu-like look, he was actually an American-born guy with North African roots! Despite this, I really, really loved watching him every chance I got--and I was excited to see him in a small part in "Time Limit". Quite simply, he was great at being bad!

This film is set just after the Korean War. A Major (Richard Widmark) has been assigned to defend a Colonel (Richard Basehart) who is being tried for aiding the enemy. It seems that while in a prisoner of war camp, Basehart was forced to make anti-American statements which were used as propaganda. Why would he do this--especially since he was a good officer?! Perhaps the evil Khigh Dhiegh found some way to brainwash Basehart. Unfortunately, they don't know because Basehart won't talk--and Widmark is having a devil of a time trying to defend a man who won't help himself. So, despite his client's wishes, he wants to dig deeper and interview a variety of people to get to the heart of it.

Overall, the film is very well-acted and the plot takes a very interesting turn near the end. Tune in to this one and see for yourself--it's worth seeing.