A common factor in any spaghetti western is the issue of dubbing and the various languages of those involved particularly the star who often was of a different nationality than the majority of the supporting cast. The Great Silence found a way away from any complications of this by having the lead character played by Jean-Louis Trintignant a mute. This is an interesting choice and makes the man named Silence a rather stoic hero even as stoic western heroes go. This forces many characters around Silence to describe Silence leaving himself mostly there for the most intense action. This actually goes to such a degree that one could argue that Klaus Kinski as the chief villain Loco, also a bounty hunter but without a code, is even co-lead with Trintignant since the film focuses almost as much on him as it does Silence. The casting itself also does seem to be an odd thing though with Trintignant certainly not the first man you'd expect to see in any type of western.
Trintignant though certainly offers quite the unique face for a western which obviously comes in handy for this part and it works in creating a certain atypical skew for the character. In that Trintignant carries a steely stare but not quite in the intense way you may expect. There is instead a certain detachment in his stare that actually does work effectively in creating both a menace in regards to the character but also suggests the state of Silence. This is as Trintignant does convey a certain damage right in the man as he portrays almost an underlying pain in Silence not as a man who is fine with his Silence but is rather pained by it. Trintignant handles this sort of detachment rather well as there is something innately broken within his performance while this also never seems to compromise his stance as sort of the hero to the western. In fact Trintignant makes something seem all the deadlier by that detachment as he guns down, not that he is wholly unfeeling, yet rather a no voice to speak any possible distress.
Although for much of the film Silence has the upper hand since he easily kills all who oppose him but this ends when he comes in contact with Kinski's Loco, who rather ironically is just a little too cool headed to get set off by Silence's attempt to pester him into a fight. This finally puts Silence off his course and Trintignant does successfully explore past the strictures of the type as the tides turn against Silence. Trintignant in these moments captures the more emotional rawness of his state through his eyes particularly in the scene where Silence thinks back to when his family was massacred. The film though again messes with its perspective a bit too much perhaps as it almost seems to become Loco's story and it is only in that view where the film's excessively bleak ending makes any sense. An ending where its silver lining is a bluntly stated message that reveals how the villains actions eventually led to good reforms down the road, which offers little solace. This does reduce Tritntignant's performance's impact a bit by the end of the film. He's still good particularly in revealing the final anguish in Silence in the final duel, yet rather strangely in the end Silence ends up being overshadowed in his own film by his rival Loco, and Tritnignant ends up being a bit overshadowed by Kinski.