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.

What this taut, tense and very-well-acted psychological western drama lacks in subtlety, it makes up in voltage, I suggest. The director, Jack Arnold, is noted for his making something engrossing out of low-grade horror material ("Creature From the Black Lagoon"); here he has first-rate supporting actors, a good setting and an interesting story to work with. The script was supplied with story by Howard Amacker and screenplay by Gene L. Coon. Con, later a contributor to "Star trek" followed a pattern in his writing; he introduced a false premise on the part of the central character and then let him find out his mistake as the action progressed; such a premise can lead to "discovery' that take the viewer along, or to a script where a false set of values are imposed onto existing materials. Here the formula work rather well, as most viewers of the film have noted. In this plot line, the ethical central character is a doctor, played by Charles Drake. To his town there comes a man called Gant. he is recognized as a famous hired gun; his pattern is to goad a man into drawing on him, outdraw him legally, then having done his job, to ride away and collect his "bounty' on a desired death. The man who recognizes him, and many others, begin to fear as the quiet, soft-spoken Gant waits and says nothing about his target, that the gunman is after them. The town's sheriff tells the townsmen he cannot go after Gant, since the man's neither wanted nor doing anything wrong. The Doctor befriends Gant, underplayed with some skill by Audie Murphy, who calls him "the only other honest man in town"; Gant expresses his admiration to the Doctor's girl, sultry Joan Evans, as well. But the tension undermines the shell of appearance and the questionable courage of several in town. the town's banker, Whitner Bissell, after a mine and worried the cheated owner has hired Gant, takes a gun, and failing in nerve tower's shoot Gant kills himself. Warren Stevens, who took Gant's wife Virginia Grey away, nerves himself up even though he is a coward to face Gant, then runs away, taking Grey with him, as he always does. The rancher cheated of the mine, John Alderson, fears the banker has hired Gant to finish his theft and organizes a vigilante group. Gant faces them down, outdraws brave Sheriff Willis Bouchey, and goes back to his vigil. Others in town including Dutch, played by Simon Scott and the banker's partner Karl Swenson now begin worrying also; only the blacksmith, the Doctor's father R.G. Springsteen and the town character, Hank Patterson, and the storekeeper Russ bender remained unaffected. At last Gant zeroes in on his man, a retired Judge, Evans' father Edgar Stehli; his method is simple. Evans' visits him in his room to ask him to leave; he tears her blouse, and takes the piece of cloth to the Judge. The Judge is outraged, and despite the fact he is dying and crippled, tries to shoot Gant. The gunman evades him, and leaves him alive. As he departs, he is met by the blacksmith and Drake; thinking he has killed the Judge, Drake throws a weapon at his arm, crippling him. Gant accepts his fate, and rides off, leaving the town wondering who is the honest man, and who is the killer. The film's features cinematography by Harold Lipstein,costumes by the great Bill Thomas, music by Herman Stein, art direction by legendary Alexander Golitzen and Robert Emmett Smith, sets by Theodore Driscoll and Russel A Gausman and makeup by Bud Westmore. This is a powerful and meaningful film that almost works perfectly. Drake and Scott, Bissell and Grey and Stevens are particularly fine; Evans is beautiful and effective as the Doctor's girl, and Springsteen is powerful as his father, as are excellent actors Bouchey and Bissell. As the Judge Stehli is intelligent and moving as always. This is a film that has been a pattern for many psychological westerns to follow, including the Clint Eastwood "man with no name" series. Not to be missed.

"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.