| Geoffrey Horne | ... | Joseph | |
| Robert Morley | ... | Potiphar | |
| Belinda Lee | ... | Henet | |
| Vira Silenti | ... | Asenath | |
| Terence Hill | ... | Benjamin (as Mario Girotti) | |
| Carlo Giustini | ... | Reuben | |
| Finlay Currie | ... | Jacob | |
| Arturo Dominici | ... | Rekmira | |
| Robert Rietty | ... | Pharaoh | |
| Julian Brooks | ... | Chief Baker | |
| Mimo Billi | ... | Chief Butler (as Mimmo Billi) | |
| Marietto | ... | Benjamin as a Child | |
| Marco Guglielmi | ... | Judah | |
| Dante DiPaolo | ... | Simeon | |
| Charles Borromel | ... | Dan | |
| Helmuth Schneider | ... | Zebulon | |
| Loris Bazzocchi | ... | Issachar | |
| Marin Marija | ... | Asher | |
| Nino Segurini | ... | Gad (as Antonio Segurini) | |
| Tonko Sarcevic | ... | Levi | |
| rest of cast listed alphabetically: | |||
| Bruno Arié | ... | Debating Man | |
| Enrico Chiappafreddo | ... | Debating Man | |
| Victor Rietti | ... | Baker (scenes deleted) | |
| Pietro Tordi | ... | Enemy | |
Directed by | |||
| Irving Rapper | (English version) | ||
| Luciano Ricci | (Italian version) | ||
Writing credits(in alphabetical order) | ||
| Oreste Biancoli | Italian version | |
| Ennio De Concini | Italian version | |
| Guy Elmes | English version | |
| Guglielmo Santangelo | screenplay | |
| Guglielmo Santangelo | story | |
Produced by | |||
| Luigi Carpentieri | .... | producer | |
| Ermanno Donati | .... | producer | |
Original Music by | |||
| Mario Nascimbene | |||
Cinematography by | |||
| Riccardo Pallottini | |||
Film Editing by | |||
| Mario Serandrei | |||
Art Direction by | |||
| Oscar D'Amico | (as Oskar D'Amico) | ||
Set Decoration by | |||
| Ennio Michettoni | |||
Costume Design by | |||
| Maria De Matteis | |||
Makeup Department | |||
| Sergio Angeloni | .... | makeup artist | |
| Galileo Mandini | .... | hair stylist | |
| Piero Mecacci | .... | makeup artist | |
Production Management | |||
| Piero Donati | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Giovanni Fago | .... | assistant director | |
Art Department | |||
| Gianni Gianese | .... | sculptor | |
Sound Department | |||
| Raffaele Del Monte | .... | sound | |
| Mario Messina | .... | sound | |
Visual Effects by | |||
| Joseph Nathanson | .... | matte shots (as Joseph Natanson) | |
Camera and Electrical Department | |||
| Sandro Mancori | .... | camera operator | |
| Stelvio Massi | .... | camera operator | |
Costume and Wardrobe Department | |||
| Marisa Crimi | .... | wardrobe | |
| Giuliano Papi | .... | wardrobe | |
Editorial Department | |||
| Ornella Micheli | .... | assistant editor | |
Music Department | |||
| Franco Ferrara | .... | conductor | |
Other crew | |||
| Giorgio Baldi | .... | production assistant | |
| Livio Maffei | .... | production assistant | |
| Richard McNamara | .... | dialogue director | |
| Jacob W. Nathan | .... | historical consultant | |
| Guido Pala | .... | historical consultant | |
| Luciano Ricci | .... | supervisor | |
| Paola Salvadori | .... | continuity | |
| Pina Zani | .... | continuity | |
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| Constantine and the Cross | Pontius Pilate | Eva | War Gods of Babylon | The Mongols |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Yugoslavia section |
In the wake of the adoption of the Widescreen process and the consequent increase in popularity of the Biblical subgenre within the realm of the Epic, stories from the Old and New Testament became a much-raided Hollywood commodity during the 1950s and 1960s. It was only a matter of time before the ultra-Catholic Italians got onto the bandwagon and grew another branch into their own in-house brand of the epic that was renamed the peplum.
As would eventually became the custom, veteran Hollywood film-makers – among them Frank Borzage, Raoul Walsh, Jacques Tourneur and Edgar G. Ulmer – were engaged to supervise the production of these cheaper Italian epics and so it is that Irving Rapper – best-known for the schmaltzy but solid Bette Davis vehicles NOW, VOYAGER (1942) and DECEPTION (1946) – became involved with bringing to the big-screen the story of Joseph; subsequently, he would be employed in a similar capacity on PONTIUS PILATE (1962). While the co-director here was one Luciano Ricci – who would later (under the alias of Herbert Wise) be the officially credited director of THE CASTLE OF THE LIVING DEAD (1964) despite the reported intervention of two others! – the actors who came on board Joseph AND HIS BRETHREN were far better known. Chief among them were Robert Morley (ludicrously hamming it up as Potiphar) and genre staple Finlay Currie (as a dignified Jacob), while the younger roles were entrusted to an eclectic bunch: Geoffrey Horne (in the title role), Belinda Lee (as Potiphar’s deceitful wife, she featured in several of these Italian cheapies and would eventually die tragically within a year in a road accident), Arturo Domenici (as Potiphar’s ambitious counsellor), Terence Hill (as Joseph’s younger brother Benjamin) and Dante Di Paolo (as the main schemer among Joseph’s jealous brothers).
One may wonder why I’m talking about everything else but the film and, unfortunately, that’s because it is no great shakes. While the story was good enough to be remade thrice on celluloid – as a 1974 TV movie by Michael Cacoyannis, yet again for TV in 1995 and as a Dreamworks animated feature in 2000 – not to mention revamped as a musical extravaganza on the stage, the version under review is dreary, dull and unmemorable. Small wonder, then that the film has fallen into public domain and is available on various budget DVDs in an English-dubbed, pan-and-scan, washed out print which further serves to alienate the viewer.