| Photos (see all 26 | slideshow) |
| Enrique Irazoqui | ... | Christ | |
| Margherita Caruso | ... | Mary (younger) | |
| Susanna Pasolini | ... | Mary (older) | |
| Marcello Morante | ... | Joseph | |
| Mario Socrate | ... | John the Baptist | |
| Settimio Di Porto | ... | Peter | |
| Alfonso Gatto | ... | Andrew | |
| Luigi Barbini | ... | James | |
| Giacomo Morante | ... | John | |
| Giorgio Agamben | ... | Philip | |
| Guido Cerretani | ... | Bartholomew | |
| Rosario Migale | ... | Thomas | |
| Ferruccio Nuzzo | ... | Matthew | |
| Marcello Galdini | ... | James son of Alphus | |
| Elio Spaziani | ... | Thaddeus | |
| Enzo Siciliano | ... | Simon | |
| Otello Sestili | ... | Jude | |
| Juan Rodolfo Wilcock | ... | Caiphus (as Rodolfo Wilcock) | |
| Alessandro Clerici | ... | Pontius Pilate | |
| Amerigo Bevilacqua | ... | Herod I | |
| Francesco Leonetti | ... | Herod II | |
| Franca Cupane | ... | Herodiade | |
| Paola Tedesco | ... | Salome | |
| Rossana Di Rocco | ... | Angel of the Lord | |
| Renato Terra | ... | Posessed one | |
| Eliseo Boschi | ... | Joseph of Arimathea | |
| Natalia Ginzburg | ... | Mary of Bethania | |
| rest of cast listed alphabetically: | |||
| Umberto Bevilacqua | ... | Soldier (uncredited) | |
| Ninetto Davoli | ... | Shepherd (uncredited) | |
Directed by | |||
| Pier Paolo Pasolini | |||
Writing credits(in alphabetical order) | ||
| Pier Paolo Pasolini | writer | |
Produced by | |||
| Alfredo Bini | .... | producer | |
Cinematography by | |||
| Tonino Delli Colli | |||
Film Editing by | |||
| Nino Baragli | |||
Production Design by | |||
| Luigi Scaccianoce | |||
Set Decoration by | |||
| Andrea Fantacci | |||
Costume Design by | |||
| Danilo Donati | |||
Makeup Department | |||
| Marcello Ceccarelli | .... | makeup artist | |
| Lamberto Marini | .... | assistant makeup artist | |
| Mimma Pomilia | .... | hair stylist | |
Production Management | |||
| Manolo Bolognini | .... | production manager | |
| Eliseo Boschi | .... | production supervisor | |
| Enzo Ocone | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Maurizio Lucidi | .... | assistant director | |
| Paolo Schneider | .... | assistant director | |
| Elsa Morante | .... | assistant director (uncredited) | |
Art Department | |||
| Dante Ferretti | .... | assistant production designer | |
Sound Department | |||
| Fausto Ancillai | .... | sound mixer | |
| Mario Del Pozzo | .... | sound (as Mario Del Pezzo) | |
Camera and Electrical Department | |||
| Giovanni Canfarelli Modica | .... | first assistant camera (as Gianni Canfarelli Modica) | |
| Vittorugo Contino | .... | assistant camera (as Victor Hugo Contino) | |
| Angelo Novi | .... | set photographer | |
| Giuseppe Ruzzolini | .... | camera operator | |
Costume and Wardrobe Department | |||
| Piero Cicoletti | .... | assistant costumer | |
| Piero Farani | .... | wardrobe | |
Editorial Department | |||
| Andreina Casini | .... | assistant editor | |
Music Department | |||
| Luis Enríquez Bacalov | .... | music arranger (as Luis E. Bacalov) | |
Other crew | |||
| Lina D'Amico | .... | script supervisor | |
| Bruno Frascà | .... | production secretary | |
| Vincenzo Taito | .... | administration inspector | |
| Gianni Bonagura | .... | voice dubbing: Marcello Morante (uncredited) | |
| Pino Locchi | .... | voice dubbing: Mario Socrate (uncredited) | |
| Enrico Maria Salerno | .... | voice dubbing: Enrique Irazoqui (uncredited) | |
Thanks | |||
| Pope John XXIII | .... | dedicatee | |
|
|
|
|
|
| The Greatest Story Ever Told | The Last Temptation of Christ | King of Kings | Ben-Hur | The Passion of the Christ |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Biography section | IMDb Italy section |
| Add this title to MyMovies |
"Il Vangelo secondo Matteo" is probably the best film ever made about Jesus. The very sparseness of visual effects is evocative and highly suggestive: the supernatural is attained by showing very natural, even lowly people. Such an effect is emphasized by the use of non-professional actors: Pasolini probably owes something to the medieval Italian tradition of "rappresentazione sacra" (a representation of important moments of Jesus's life offered by everyday people), which is still practised nowadays. The powerful effect of Jesus's preaching is very well rendered by Pasolini, and this helps to forgive some poetical licenses on his part. In the end, anyway, this is not a movie you remain indifferent to: either you love it or you hate it. And this, maybe, is what contributes to making it a faithful representation of Jesus's life.