‘Time Limit’: Beneath the Admission of Guilt

Maj. Harry Cargill (Richard Basehart), in “Time Limit.” United Artists

NR | 1h 36m | Drama, War | 1957

North Korea has long had a reputation as a hellscape that no one in their right mind would want to live in and, let alone, visit. Long held under an iron-fisted communist dictatorship, where groupthink and self-censorship are a way of life, the hermit kingdom deals swiftly and ruthlessly with any form of even the slightest dissent among its citizenry.

Foreign enemies suffer similar fates: torture and, eventually, death. This is why the United States military personnel stationed close to the DMZ (demilitarized zone) along the North Korean border are cautioned to avoid being captured, as dramatized in my recent review of “Valiant One.”

Capture by the North Korean regime can serve more sinister purposes than mere imprisonment. Brainwashing is used to convert to their cause.

Maj. Harry Cargill (Richard Basehart) as a POW, in “Time Limit.” United Artists

In 1957’s “Time Limit,” we witness what happens when a captured U.S. Army prisoner of war (POW) may have been brainwashed by his North Korean captors and used against his former military cohorts.

A Confounding Admittance

Assigned to investigate allegations of enemy collaboration, U.S. Army Col. William Edwards (Richard Widmark) must determine whether Maj. Harry Cargill (Richard Basehart) should face a court-martial. A former prisoner in a North Korean POW camp during the Korean War, Cargill is accused of spreading communist propaganda, making pro-enemy radio broadcasts, and falsely confessing to involvement in biological warfare.

To Edwards’s surprise, Cargill openly admits to every charge without hesitation. His unwavering confession, however, raises more questions than answers. Under pressure from his superior, Lt. Gen. Connors (Carl Benton Reid), whose son perished in the same camp, expects Edwards to wrap up the case quickly. Yet something doesn’t add up. Cargill had no clear motive for betraying his country, and his past suggests nothing but intelligence and integrity.

Col. William Edwards (Richard Widmark, R) meets Maj. Harry Cargill (Richard Basehart), in “Time Limit.” United Artists

As Edwards continues his investigation, his secretary, Cpl. Jean Evans (Dolores Michaels), picks up on unsettling patterns in the testimonies of the surviving soldiers, including Lieutenant George Miller (Rip Torn). Each witness recites the exact same medical explanations for the deaths, word for word, as if following a script. The more Edwards probes, the clearer it becomes that the real story is being carefully concealed.

A Lesser-Known Gem

“Time Limit” is a military drama that unfolds like a mystery. Adapted from a stage play by Ralph Berkey and Henry Denker, the film relies on sharp dialogue, strong character dynamics, and steadily mounting pressure to drive its story. It also marks two firsts: Karl Malden’s directorial effort and the first production from Richard Widmark’s company.

The original Broadway cast featured Arthur Kennedy, Richard Kiley, Thomas Carlin, and Allyn McLerie. Their film counterparts deliver solid performances, though the hinted attraction between Widmark’s Col. Edwards and Michaels’s Cpl. Evans feels somewhat contrived.

Col. William Edwards (Richard Widmark) confers with his secretary, Cpl. Jean Evans (Dolores Michaels), in “Time Limit.” United Artists

June Lockhart makes a memorable impression in her brief appearance as Cargill’s wife, while Martin Balsam injects some much-needed levity into the tense proceedings as Edwards’s brash, cigar-chomping assistant Sgt. Baker.

Khigh Dhiegh reprises his stage role as Col. Kim, the North Korean camp commander. This was his first film (add another first to that list), and it set the tone for a career playing sophisticated, articulate antagonists in future productions. Interestingly, he wasn’t Asian at all but of Anglo-Egyptian and Sudanese descent.

The eerie consistency in the soldiers’ accounts of their captivity brings to mind later films dealing with psychological conditioning, but this one remains focused on human choices rather than larger conspiracies.

Malden’s direction is efficient, though visually limited by the script, which keeps most of the film confined to Edwards’s office. The POW camp flashbacks, shot at the picturesque Conejo Ranch in Agoura, California, add moments of much-needed change in scenery, especially in the stark opening sequence.

The film’s conclusion leans toward moral argument, questioning the black-and-white nature of military justice, and the impossible expectations placed on soldiers. While its message is delivered with a heavy hand at times, “Time Limit” is an absorbing and well-acted drama that deserves more recognition.

“Time Limit” is available on Apple TV and Amazon Prime.

‘Time Limit’ Director: Karl Malden Starring: Richard Widmark, Richard Basehart, Dolores Michaels Not Rated Running Time: 1 hour, 36 minutes Release Date: Oct. 23, 1957 Rated: 3 1/2 stars out of 5

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