| Photos (see all 3 | slideshow) |
| Frederick Stafford | ... | Joe Mortimer, Sesame | |
| Daniela Bianchi | ... | Kristina von Keist | |
| John Ireland | ... | Captain O'Connor | |
| Curd Jürgens | ... | General Edwin von Keist | |
| Michel Constantin | ... | Sgt Rudolph Petrowsky | |
| Helmuth Schneider | ... | SS-General Hassler | |
| Howard Ross | ... | Randall | |
| Fajda Nicol | ... | Magda (as Faida Nichols) | |
| Anthony Dawson | ... | American Colonel (as Anthony M. Dawson) | |
| Jacques Monod | ... | Partisan | |
| Adolfo Celi | ... | Luc Rollman | |
| rest of cast listed alphabetically: | |||
| John Bartha | ... | Hassler's Subordinate | |
| Valentino Macchi | |||
| William Conroy | ... | German Officer (uncredited) | |
| Tom Felleghy | ... | American N.C.O. (uncredited) | |
| Max Turilli | ... | Von Keist's Aide (uncredited) | |
Directed by | |||
| Alberto De Martino | |||
Writing credits | ||
| Dino Verde | (story) & | |
| Vincenzo Flamini | (story) & | |
| Alberto De Martino | (story) | |
| Dino Verde | (screenplay) & | |
| Vincenzo Flamini | (screenplay) & | |
| Alberto De Martino | (screenplay) | |
| Franco Verucci | (screenplay collaboration) & | |
| Alberto Silvestri | (screenplay collaboration) & | |
| Louis Agotay | (screenplay collaboration) | |
Produced by | |||
| Edmondo Amati | .... | producer | |
Original Music by | |||
| Ennio Morricone | |||
| Bruno Nicolai | |||
Cinematography by | |||
| Giovanni Bergamini | |||
Film Editing by | |||
| Otello Colangeli | |||
Production Design by | |||
| Nedo Azzini | |||
Set Decoration by | |||
| Pier Luigi Basile | |||
Costume Design by | |||
| Gaia Romanini | (as Gaia Rossetti Romanini) | ||
Makeup Department | |||
| Anna Cristofani | .... | hair stylist | |
| Franco Di Girolamo | .... | makeup artist | |
Production Management | |||
| Paolo Gargano | .... | production supervisor | |
| Piero Lazzari | .... | production manager | |
| Elio Saroli | .... | production supervisor | |
Art Department | |||
| Pier Luigi Basile | .... | set dresser | |
Sound Department | |||
| Bruno Brunacci | .... | sound engineer | |
Special Effects by | |||
| Eugenio Ascani | .... | special effects | |
Visual Effects by | |||
| Emilio Ruiz del Río | .... | matte shots | |
| Alejandro Ulloa | .... | visual effects photographer | |
Camera and Electrical Department | |||
| Giovanni Bonivento | .... | assistant camera (as Gianni Bonivento) | |
| Salvatore Caruso | .... | camera operator | |
Costume and Wardrobe Department | |||
| Gaia Romanini | .... | wardrobe | |
Editorial Department | |||
| Giuliana Colangeli | .... | assistant editor | |
Other crew | |||
| Marion Mertes | .... | continuity | |
| Giorgio Ubaldi | .... | master of arms | |
| Luciano Vittori | .... | title designer | |
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| Roma, città aperta | The Longest Day | Perlasca. Un eroe italiano | The Two-Headed Spy | Novecento |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Italy section | Add this title to MyMovies |
Possibly the best that I've watched of the "Euro-Cult" variations on Hollywood's war-themed spectaculars of the 1960s (ditto with respect to the films of director De Martino); that said, its overall quality is only comparable to second-tier legitimate efforts like, say, THE DEVIL'S BRIGADE (1968) or KELLY'S HEROES (1970)!
I've watched a few of these during the past year and they mostly emerged to be competent and enjoyable, but also instantly forgettable; being usually co-productions between various European countries, they still managed to attract a number of international stars. In this case, the hero is played by American Frederick Stafford (who later made BATTLE OF EL ALAMEIN [1969] and EAGLES OVER London [1969]). Interestingly, the film co-stars four James Bond alumni in leading lady Daniela Bianchi (FROM Russia, WITH LOVE [1963]), Curd Jurgens (THE SPY WHO LOVED ME [1977]), Adolfo Celi (THUNDERBALL [1965]) and Anthony Dawson (DR. NO [1962]); also on hand are Howard Ross, Michel Constantine, John Ireland and, most impressively perhaps, Helmuth Schneider as a nasty SS officer.
What's unusual about this particular title is that it throws in an elaborate diamond caper (with access to the vault gained from under water) amidst the usual Nazis-vs.-Partisans action. Of course, to complicate matters further is the budding romance between Stafford and Bianchi (she's a Jew married to high-ranking German officer Jurgens!) and, besides, virtually all those involved have their own agenda as to what to do with the loot! The action sequences are no less sweeping than those of the typical Hollywood outing, particularly during the (rather protracted) climax this is then followed by a clumsy attempt to tie up its many loose ends, thus making the whole even more overlong! As a matter of fact, in hindsight it seems that the film doesn't know whether it wants to be a straightforward war actioner, a tongue-in-cheek caper adventure or something a lot more solemn altogether, but at least it does have its moments in each of these facets.
Incidentally, this was one of the few times where composers Ennio Morricone and Bruno Nicolai shared credit for a film score (which is alternately stirring and melancholy); usually, the latter either composed alone or conducted the former's themes.