Right off, I’ll say that I like Audie Murphy. He is so improbably short and boyish-looking for a western hero. You root for him, even when he’s cast as a bad guy in this film.
The set-up is simple. Audie’s reputation as a hired gunman precedes him to a western town, where his presence makes most everybody nervous. His M.O. is to accept a contract on a man and then provoke him into drawing first. Killing him then is always self-defense. We get a similar situation in Shane where Jack Palance fatally provokes a homesteader into pulling his revolver.
The film is a cross between a bounty-hunter story and a who-dun-it. There’s more than one man in town feeling guilty about something, and we have to wait until the end to find out which one Audie’s been paid to bump off. It’s a telling detail that there’s no particular honor in killing any of the potential candidates. This must have been a tough script to make work.
No Name on the Bullet is a Cinemascope, color picture, but after the opening scene in which Audie rides across a handsome western landscape (like the opening of Shane), most of the film takes place in town and indoors. There seems not to have been much budget for dressing the sets either. The interiors are brightly lighted, as if the film was intended for TV, and most seem almost empty of furnishings.