Artivels Undescribable Perfection

Jeanskynebu the audience applauded

Senteur As somebody who had not heard any of this before, it became a curious phenomenon to sit and watch a film and slowly have the realities begin to click into place.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

David Anthony 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?

theFoss 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.

greenheart Nowadays, finding a movie that's a Western is a work of art. Back in the 1950s it seems that every other movie was a Western and only the best have really stood the test of time. This film is original with an excellent plot brought to life with great location, splendidly explored characterisation and solid performances. As soon as Audie Murphy appears on screen, you know that he's no good as he scares the life out of 2 random strangers, just by asking them for directions. As he rides into the town, again, everyone stops and stares at him. It turns out that he's John Gant, contract killer whose M.O is to get his target into an argument. When the target pulls his gun, Gant shoots him in self-defence and can never be prosecuted. So who is Gant in town to kill? This is where the excellent characterisation comes in as you soon find yourself caring about individuals and their circumstances. What the director does well, is keep the audience guessing as to who Gant's target is. The natives become restless and start accusing each other of hiring Gant and many unnecessary squabbles, fights and even killings occur. Murphy maintains a laid back calmness throughout and is utterly believable in this role. I felt like I could see the inevitable conclusion coming a mile off, but was more than pleasantly surprised when this didn't happen. This is a cracking Western that works in just about every department and is surely one of Audie Murphy's best performances.

classicsoncall "No Name on the Bullet" is just such a great title for a Western; it conjures up so many images of gun fights, shoot outs and showdowns. I enjoyed the film with one reservation - I just can't get used to the idea of Audie Murphy portraying a heel. For me, it just doesn't work, just as Roy Rogers wouldn't have worked as the lead character. A baby face on the lead villain doesn't create the tension needed in a psychological Western.That aside, the film works on it's premise - a hired gunman rides into town on a mission with a reputation that precedes him. His method is always the same, stay awhile, get the lay of the land, and let the town's nervous citizens take themselves and each other apart until the day of reckoning.Fine performances are turned in by Willis Bouchey as Sheriff Buck Hastings, and Charles Drake as Dr. Luke Canfield who befriends gunslinger John Gant (Murphy) before he realizes who he is. As his contact with Gant is entirely amiable, including a game of chess, Canfield has a tough time acknowledging Gant's reputation as a cold hearted killer.Gant plays his cards close and observes, as if waiting for the town to take out his intended victim for him. Along the way, crooked banker Pierce (Whit Bissel) commits suicide, and cowhand Ben Chafee (John Alderson) forces a confrontation with Pierce's partner Stricker (Karl Swenson). The finale allows Gant to dole out his own brand of justice without firing a shot, yet know that his career is over as he heads into sundown, the victim of a healer with a hammer.