The maestro of Italian shock & father of the giallo worked with Rosalba in 1960 on this biblical romance. Bava photographed the film and seems to have shot some of the second unit material. A few other of the film's darker sequences look more like one of Bava's horror or peplum films.
Mario's fingerprints are all over Rosalba's grim comeuppance when she steals Joan Collin's golden shall, earmarking her for a mistaken assignation. This wardrobe malfunction leads to our Ms. Neri's hasty exit, stage left.
Despite this short but showy role, her name is nowhere to be found in the English credits for the film.
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