Biggest problem with Tepepa (apart from apatic Welles) is that its script was tampered with in attempt to make titular antihero some kind of romantic hero of the revolution which he was not intented to be in original Solinas’ script. Off course the ending can be interpreted as “print the legend, not the truth”, but I don’t think that was the idea and if I’m correct, Solinas admitted that he was not happy with the changes made to his script.
More of my older ramblings on this (and very interesting article they reference) can be found here: Go West, Comrade: Unearthing Politics in the Spaghetti Western - #7 by titoli