| Richard Harrison | ... | Marco Trevisan | |
| Walter Brandi | ... | Ranieri | |
| Annamaria Ubaldi | ... | Alina | |
| Gino Turini | ... | Count Trevisan (as John Turner) | |
| Maretta Procaccini | ... | The Child | |
| Lorenzo Artale | ... | Giovanni | |
| Anita Todesco | ... | Zoraide | |
| Liana Dori | ... | Velia | |
| Lilly Landers | ... | Caterina | |
| Demeter Bitenc | ... | Rabaneck | |
| Luigi Batzella | ... | Mahmud (as Paolo Solvay) |
Directed by | |||
| Roberto Mauri | |||
Writing credits(in alphabetical order) | ||
| Mario Colucci | writer | |
| Roberto Mauri | writer | |
Original Music by | |||
| Aldo Piga | |||
Cinematography by | |||
| Angelo Baistrocchi | |||
Film Editing by | |||
| Mariano Arditi | |||
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| Gli invincibili fratelli Maciste | Agi Murad il diavolo bianco | Col ferro e col fuoco | Zorikan lo sterminatore | Il segno del vendicatore |
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| Full cast and crew | Company credits | External reviews |
| IMDb Action section | IMDb Italy section | Add this title to MyMovies |
It may well be because I'm watching too many movies of a similar nature in too short a time-frame but, lately, I've found myself almost totally forgetting about the events occurring in a particular movie after a mere couple of days have elapsed from its first viewing. This obscure Italian peplum is another such example alas because, frankly, the only two things that have stayed with me after these three days were: that it was a slight step up from the dismal (and similarly-titled) 'sword-and-sandal' flick I had watched previously on that same day i.e. ALI BABA AND THE SEVEN SARACENS (1964), and also the fact that I couldn't stop myself from laughing for a couple of minutes on end afterwards when, during a court dance sequence, a man comes tumbling down to the floor and drags his dancing partner with him; that it was a goof and not an intended gesture is borne out by the way the woman giggles in embarrassment after regaining her composure!! All I can add at this juncture is that the film stars Richard Harrison, a staple of this type of unassuming fare, but his character - and, by extension, characterization - is too bland to merit more than a footnote in this already skeletal review...