Damiano Damiani's 1966 film 'A Bullet for the General' is a very good Spaghetti Western genre film that everyone who enjoys western films should not miss for its good political matters involved and very good acting. The film was well directed by Damiano Damiani . Being a very eclectic director, Damiani made a career of action, adventure, thriller and western films. ¨A bullet for the General¨ is worth seeing and is one of those films whose time elapses quickly while your eyes can't move direction from the TV set. "A Bullet for the General" is a thoroughly enjoyable Western from beginning to end and does not leave you disappointed. Chuncho, played by Volonté, does a terrific job and Ramon Rojo from "Fistful of Dollars", but with a pinch of ingrained revolutionary thrown in. The gringo is well played. Volonté, who played Chuncho was once considered one of the best Italian actors by his countrymen.The soundtrack is also good including the very recognizable theme song. Last, if you wanna see a well directed, well written and well performed film, this is the film to be seen.

Okay, so the dubbing's atrocious but in every other respect Damiano Damiani's "A Bullet for the General" is a classic Spaghetti Western which has built up quite a considerable cult since it first appeared. With a cast headed by Gian Maria Volonte, Klaus Kinski and Lou Castel, not to mention cult favorite Martine Beswick, what do you expect but it's Damiani's direction, (he handles the plentiful action sequences splendidly), and Antonio Secchi's superb widescreen cinematography, together with an intelligent and politically astute screenplay, in part written by Franco Solinas, that gives this marvelous film an edge over many of its contemporaries.

Damiano Damiani's 1966 film 'A Bullet for the General' is one of the first examples of the Zapata Western, a sub-genre of the Spaghetti Western that mostly dealt with political themes during the Mexican Revolution of the early 20th century. Gian Maria Volontè plays El Chucho, the leader of a Mexican bandit gang who earn their pay selling arms to revolutionaries - he meets with a suave gringo named Bill Tate (played by Lou Castel) who claims to be on the run from the law and soon finds himself inducted into the group and deep in the heart of the Mexican revolution.Despite the simple sounding premise 'A Bullet for the General' displays a great depth of character as the protagonists relationships shift with the plot before inevitably exchanging roles. The first hour or so seems like a standard western affair with lots of the usual train hi-jacks and bandit raids, but as the characters develop and their relationships become more strained we see some marvellous performances from the suspicious El Chucho, his brother El Santo (a fanatical Christian revolutionary played by Klaus Kinski) and the cool and un-flustered Bill 'Niño' Tate.The doubt displayed by El Chucho towards Tate really sets up the finale, and as the film nears the heart of the revolution Tate's motives become clear - but that doesn't stop Damiani pulling a nice twist at the end, endearing Volontè's character and providing a juxtaposition to the characters he made famous in some of Sergio Leone's classic Spaghetti Westerns. In a film dealing largely with role-reversal this is particularly apt.I didn't quite know what to expect from 'A Bullet for the General', I hadn't previously heard of the director and apparently this was his first foray into the Western genre - but I was pleasantly surprised with the outcome. Providing a good mix of action and politics with commendable performances from Volontè, Kinski and Castel 'A Bullet for the General' is an intriguing and unique example of the Spaghetti Western and well worth your time whether you're a fan of the genre or not.

Wham-bam spaghetti Western set during the Mexican civil war. A morally ambiguous gun-runner finds assistance from a mysterious American, who is rather too keen to get the cache and one particular bullet to the rebel general. Gian Maria Volonte is astounding as the outlaw, torn between commitment to the cause of the peasants and his own immense appetites; Kinski is his barmy apocalyptic preacher of a brother. Lou Cassel is properly cold as the internally dead gringo American.The narrative leaps forwards in great bounds, with each sequence establishing it's progression from the next with punchy visual clarity, and there's a plenty of memorable encounters and images along the way. The radical and committed script is by Pontecorvo-collaborator Franco Solinas, and the portrait of the morally decrepit white man bears a lot of similarity with Brando's character in Burn! The final sequence, with Volonte realising just how much of his soul he has sold, is one of the greatest denouements around.