I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

That was an excellent one.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

One of the best movies of the year! Incredible from the beginning to the end.

Paranoia grips an Old West town when an infamous assassin arrives but refuses to reveal who he has been hired to kill in this nifty mix of western and mystery elements. Audie Murphy is perfectly cast in the lead role with the film attaining much suspense from the question of whether Murphy really is who he says he is; after all, he is so young and "sounds more like a preacher" with the way he constantly waxes philosophical about life. As the film progresses though, and Murphy's ramblings turn morbid with thoughts such as "everybody dies", it gradually becomes clear that he is every bit as dangerous as his reputation, and more so if anything. Clocking in at less than 80 minutes long, the film never gets to develop of all its supporting characters, and therefore it only partly succeeds in its portrayal of a town full of corrupt individuals, each believing that they will be killed. As a study of how Murphy ticks though, the film works excellently. Most impressively, the film reveals deep intelligence behind his ostensibly cold and heartless approach to life, questioning "who is the villain" if he carries out justice with his slayings. There is also a lot to like in how he does not kill for the sake of it, and actively tries to only wound those who get in his way. It might be a push to call Murphy a sympathetic character, but in a town full of ignoble individuals, it is hard not to feel for his approach to life. Add in a glorious mystery of element of just who will be his victim, and 'No Name on the Bullet' really rises above the ante of the typical western in which a stranger rides into town.

No Name On The Bullet is a very good psychological western.It stars Audie Murphy in one of his many westerns,here he plays a hired assassin by the name of John Gant,who has been payed to go into a town and kill somebody,but who has he come for?this is the question all the local towns folk are asking and so do you the viewer. Naturally all the locals are on edge and are paranoid as they all have their secrets and they all have their enemies,before long they all start turning against each other and making accusations. The biggest problem is that although Gant is a known hired killer he always gets his victims to draw first so that it looks as if he has killed in self defence,therefor he can not be arrested,he is cold and calculating and has all his plans worked out.So how can he be stopped?The real intended victim comes to light towards the last fifteen minutes of the film but you may have already guessed before then.The tension in this film is almost claustrophobic as you feel the over bearing pressure on the towns people.Its brilliantly directed and although Murphys performance is good the supporting cast is excellent. No Name On The Bullet is a good tense thriller,which instead of being a Whodunnit is more of an Whos gone a get it?

In Paul Buhle and Dave Wagner's biography of blacklisted writer/director Abraham Polonsky, Polonsky tells them he had worked as a writer without credit on many films. But he would not divulge the names of all these films because he honoured agreements not to do so. These titles Polonsky took to his grave. Jack Arnold's excellent philosophical western, "No Name on the Bullet", repeats the classic Polonsky line from "Body and Soul": "Everybody dies!". In fact, this is the overt theme of "No Name on the Bullet" which explores the notion of life and death at great length. The retired judge is old enough to sacrifice himself for the town. His selflessness seems to diminish any high morals his fellow townsmen may have. Audie Murphy as the assassin Jim Gant recognises this, even though he did not kill him as he initially planned, recognises the old man's bravery and defiance when he refuses to accept Dr Charles Drake's offer to treat his arm. There is not a bad performance in this thoughtful and engrossing western and it shows how well Audie Murphy could act with a first-rate director at the helm. Jack Arnold's best film seems to have Polonsky's poetic touch. I wonder if someone out there can confirm if Polonsky was involved with the script of "No Name on the Bullet". Is my theory likely?

OK...nobody is going to be able to compare Audie Murphy's acting with Olivier, but he effectively underplays this role, and seems to relish being the "villain" of the piece. His gamut of emotions, here, range from a sneer to a smirk, and that is all he needs for this film. The rest of the "B" list cast does an adequate job in framing this tale of morality. Similar films include Bad Day at Black Rock, High Plains Drifter, and High Noon, where the moral character of the Townfolk are called into question. I feel that No Name On the Bullet is more effective that the "A"-listers mentioned, because any damage done to the town and it's people are, essentially, completely self inflicted due to guilt or suspicion. Audie initiates none of the action, and while he philosophizes about the townsfolk's foibles, he is above even judging them. His mere presence starts the chains of events, as one's conscience might move a guilty one to action.This story was done as a "B" western, by people who did "B" westerns, but, could work in many other settings, and is interesting from start until the final credits roll.