The film featured unusual semi-abstract settings and decor, created by the stage designer Rolfe Gerard in a striking departure from the normal practice of the day for Hollywood biblical epics.

A. H. Weiler of The New York Times wrote that the filmmakers "have come up with a spectacle-filled adventure easily fitted to the lush hues of WarnerColor and the king-sized screen of Cinemascope.

"[3] Variety wrote, "Like the Costain book, the picture is overdrawn and sometimes tedious, but producer-director Victor Saville still manages to instill interest in what's going on, and even hits a feeling of excitement occasionally.

[5] Richard L. Coe of The Washington Post wrote, "Lesser Samuels' screen play meanders self-consciously and Victor Saville's direction is just as overblown.

I found nothing remarkable in the performances of the leads, Paul Newman (not as good as he's been on TV), Pier Angeli, Virginia Mayo (more synthetically blondined than ever), Jack Palance (an overtheatric villain), or even Walter Hampden (the ancient Joseph).

[8] The Monthly Film Bulletin wrote, "Any true religious atmosphere in this vulgar and incongruous fancy-dress parade is out of the question...Some may discover uproarious moments, many will be repelled by the tastelessness of the spectacle as a whole.

[14] Newman called the film "the worst motion picture produced during the 1950s", and once screened it for guests at his home, handing out pots, wooden spoons and whistles, encouraging the audience to offer noisy critiques.