A Bullet for the General is a 1967 movie directed by Damiano Damiani.
A Bullet for the General tells the story of the bandit Chucho, who tries to secure weapons for a rebel General. He is joined in his pursuit by the enigmatic Bill Tate, a Gringo whose motives are vague.
Readers of this site know my criteria for an enjoyable European Western: I’m looking for style, great music, fun bad guys and some violence. Throw in some weirdness and I’m hooked. A Bullet for the General covers all these bases and while it’s not outright strange, the movie boasts a bold, defined style.
The two leads create a fun dichotomy. Gian Maria Volonte and Lou Castel are perfect strangers – actors who can only come co-exist in a Spaghetti Western universe.
Volonte’s Chucho initially appears cartoonish. He’s the brash, sometimes oafish Mexican bandit who dominates the screen. Yet, a softness and depth emerges as the movie unfolds. The hardened bandit transforms into a man of the people, then undergoes a reckoning as returns to his previous life.
Perhaps Volonte’s graying mane and sad face contribute to the effect, but he easily absorbs the audience’s empathy. A few scenes after viciously killing a fellow bandit, he wrestles with his conscience. He implores the cynical Tate to look into the eyes of a poor farmer: “He’s a man like me and you – do you understand?”
Tate’s reply: “No.”
The movie’s final scenes furthers Chucho’s evolution. After escaping the General’s men, he returns to meet with Tate. They split a small fortune and Tate decks Chucho out with a new haircut and professional suit. Chucho clumsily tries to enter a higher caste of society before gleefully returning to his bandit roots.
It’s a terrific performance by Volonte in a role that is surprisingly layered.
While there is genuine emotion coloring Volonte, Lou Castel’s Bill Tate/Nino/Gringo provides a steely, tense, awkward vibe. Castel’s baby face confuses the audience – we can’t fully allow ourselves to embrace Castel as either a hero or villain.
Dressed like a 1930’s gangster, Castel’s Tate is wildly misplaced in dusty, revolutionary Mexico. It’s quickly apparent he’s the outsider. Beyond his appearance, Tate establishes his disdain for the setting. A kid approaches Tate: “White man, do you like Mexico?”
“No, not very much.”
Castel is impressive in the role. There’s a quiet intensity permeating in the character. He’s diminutive in stature and overly reliant on Chucho, but he orchestrates the group’s movements – culminating in his secret mission coming to fruition.
Martin Beswick stands out in what is often an underutilized European Western stock role – the tough female bandit. She taps into a fiery intensity that amplifies the divide between rich and poor. Beswick explodes in a scene where Carla Gravina’s Rosario is sexually threatened by bandits. She demands vengeance before retreating into passion with her boyfriend.
The above stated criteria for enjoyable European Westerns could also include a mandatory Klaus Kinski appearance. While it’s apparent Kinski often mails in these roles, he’s at least given a unique character to play here.
Kinski is El Santo, the bandit and faux holy man. He’s awash in dusty blond hair wrapped in a bandana and adorned with an outsized crucifix. He makes vague references to spirituality and pledges to help the poor and downtrodden.
The usual Kinski intensity is on display and he appears more invested playing a character with a bit of depth. He delivers a standout scene as the bandits attack Army troops. Kinski emerges as the top of a building, shrieking: “in the name of the father, the son and the Holy Ghost!” He launches grenades down on the oppressors.
Damiani presents a cleanly shot, well-paced movie. The settings are basically sparse, but effective in presenting the story. As in nearly all European Westerns, the characters are studied up close. There are layers revealed and hidden in the actors’ eyes. In this particular case, Volonte, Castel and Kinski are soulful subjects.
The tone is enhanced by a combination of Ennio Morricone and Luis Bacalov providing the musical score. While there are no standout, memorable individual songs, the music is vibrant.
The BEST – The One-Liners
- There are so many great lines in this movie:Chucho after shooting Guapo – “Guapo was your friend”: “Ehh. Guapo is dead.”
- El Santo when confronted by a priest: “Between two bandits, Jesus died on the cross.” (The priest is shot a moment later).
- Adelita to Tate: “I never hated anyone more than you.”
- Chucho to the General: “I got your photograph. You look just like it.”
- Tate: “Men don’t have to have a long gray beard to pull a trigger.”
- Chucho to Don Felipe: “Ask me anything – except to live.”
The BEST Part 2 – Adelita Lights the Fuse
Before the bandits attack the troops, Adelita parades through volleys of catcalls before triggering an explosion. After lighting the fuse, she sharply adjusts her hat. It’s a total badass move for a really cool character.
The BEST Part 3 – Aldo Sampler
It’s not a huge part, but Sambrell makes an early, short-lived appearance. His Lt. Alvaro Ferreira commands the train that gets ambushed by Chucho’s men. However, Sambrell makes the most out of a small part. His death scene on the train tracks leaves a memorable image.
The WORST – The Gold Machine Gun
The machine gun is a European Western trope – or it could even be its own sub-genre. Possibly because of its ubiquity, the prized weapon is a bit underwhelming here. It’s on the smaller size and is only used in one scene.
The WORST Part 2 – Vicente’s Perm
No one’s hair should be that perfectly coiffed in the middle of a revolution.
FOX FORCE FIVE RATING – 4/5
A Bullet for the General is an exceptionally well-made European Western. The style, action and unique characters create a fun environment. Throw in great music and a Klaus Kinski appearance and you have a must watch.
