| Guy Williams | ... | Damon | |
| Don Burnett | ... | Pythias | |
| Ilaria Occhini | ... | Nerissa | |
| Liana Orfei | ... | Adriana | |
| Marina Berti | ... | Mereka - Nerissa's Friend | |
| Arnoldo Foà | ... | Dionysius the Tyrant | |
| Carlo Giustini | ... | Cariso | |
| Aldo Silvani | ... | Patriarch | |
| Andrea Bosic | ... | Arcanos | |
| Maurizio Baldoni | ... | Dionysius the Younger | |
| Franco Fantasia | ... | Rumius the Fencing Master | |
| Osvaldo Ruggieri | ... | Demetrius - Nerissa's Brother | |
| Lawrence Montaigne | ... | Flute Player | |
| Enrico Glori | ... | Nikos | |
| Gianni Bonagura | ... | Phylemon | |
| Vittorio Bonos | ... | Digenis | |
| Carlo Rizzo | ... | Libia | |
| Giovanna Maculani | ... | Hermione | |
| Enzo Fiermonte | |||
| Tiberio Mitri | |||
| Franco Ressel | |||
| Tiberio Murgia | |||
| Luigi Bonos | |||
| Maurizio Bedoni | |||
| Giovanni Bagliori | |||
| Carolyn De Fonseca | ... | Chloe (as Carolyn Fonseca) | |
| Carla Bonavera | |||
| Enrico Salvatore |
Directed by | |||
| Curtis Bernhardt | |||
Writing credits | ||
| Samuel Marx | (story) | |
| Samuel Marx | (screenplay) & | |
| Franco Riganti | (screenplay) | |
| Paola Ojetti | (dialogue: Italian version) & | |
| Franco Riganti | (dialogue: Italian version) | |
| Bridget Boland | (dialogue: english version) & | |
| Barry Oringer | (dialogue: english version) | |
Produced by | |||
| Sam Jaffe | .... | associate producer | |
| Samuel Marx | .... | associate producer | |
| Franco Riganti | .... | producer (uncredited) | |
Original Music by | |||
| Angelo Francesco Lavagnino | (as A.F. Lavagnino) | ||
Cinematography by | |||
| Aldo Tonti | (director of photography) | ||
Film Editing by | |||
| Niccolò Lazzari | |||
Production Design by | |||
| Alberto Boccianti | |||
Set Decoration by | |||
| Ennio Michettoni | |||
Costume Design by | |||
| Adriana Berselli | |||
Makeup Department | |||
| Nilo Jacoponi | .... | makeup artist | |
| Rosa Luciani | .... | hair stylist | |
Production Management | |||
| Giorgio Riganti | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Alberto Cardone | .... | assistant director | |
Art Department | |||
| Italo Tomassi | .... | manager of art department (uncredited) | |
Visual Effects by | |||
| Joseph Nathanson | .... | matte shots | |
Camera and Electrical Department | |||
| Luigi Kuveiller | .... | camera operator (uncredited) | |
Music Department | |||
| Franco Ferrara | .... | conductor: Orchestra Filarmonica Romana | |
Other crew | |||
| Franco Fantasia | .... | fencing master | |
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| The Chronicles of Narnia: The Lion, the Witch and the Wardrobe | Giant of Marathon | Imperium: Augustus | Alexander | Ben-Hur |
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| Full cast and crew | Company credits | External reviews |
| IMDb Adventure section | IMDb Italy section |
Although I had heard of the titular historical characters probably from a Greek mythology class I sat for in Secondary School I had never read or seen their tale until now, via this rather lifeless and turgid peplum that was, until some time ago, a staple of TCM UK's schedule. The leads are likable enough as played by Guy Williams (from Disney's "Zorro" TV-series in his penultimate theatrical feature) and Don Burnett (also in his next-to-last film, he was a dead ringer for Rock Hudson but much less charismatic), their inevitable love interests are, respectively, attractive (Liana Orfei) and histrionic (Ilaria Occhini), while the villainous Tyrant of Syracuse (the film's original Italian title) was portrayed by a favorite Italian character actor who made his fair share of these things Arnoldo Foa' who also speaks his own lines in serviceable English! Actually, the latter's belated introduction breathes new life into the film making the second half far more compelling as Greek Burnett defies his Sicilian enemies to prove that his Pythagorian creed of "The Brotherhood of Man" (perpetrated by persecuted philosopher Andrea Bosic) by replacing Sicilian thief Williams who has, uncharacteristically, exchanged places with Burnett on the executioner's block because of the latter's impending fatherhood! Therefore, it is rather unfortunate that, despite some interesting international credentials in the direction (German Bernhardt, who would curiously himself retire after making just one more film!) and screen writing (British playwright Bridget Boland and Hollywood veteran Samuel Marx) departments, DAMON AND PYTHIAS does not emerge a better movie in the long run even when compared to most of the less-than-inspired product along the same lines being churned out by contemporary Italian B-grade film-makers.