In the title role, The Humanoid imports Richard Kiel who achieved a small amount of fame around the time as the comic steel-toothed henchman in the James Bond films The Spy Who Loved Me (1977) and Moonraker (1979). Staying with the Bond films, The Humanoid also brings in Barbara Bach and Corinne Clery who played love interests in the aforementioned Bond films as well.
Sometimes the Star Wars parallels in The Humanoid become merely tedious the lookalike Darth Vader villain, the lookalike Star Destroyers conducting copycat moves with shots as they pass over the camera, even a sequence shooting down tiny pursuing enemy fighters that directly copies the design of the gun turrets from the Millennium Falcon. However, the film is a juvenile fantasy without any serious view of its elements the script plods in a way that cannot permit anything else and as such, it shouldnt be considered too badly. It is certainly a more polished film than many of the other abovementioned Italian Star Wars copies.
The sets, effects and costumes are not too bad on the whole. Expectedly there are some shoddy opticals but generally the effects (which are supervised by veteran Italian B-movie director Antonio Margheriti) are fair the models are okay as long as they arent used in closeup. The scenes with Richard Kiel throwing people about comes plainly assisted by wires and one scene where he swings a person around by their feet is all too obviously just a dummy. The costumes have a flat anonymity we are once again amongst the science-fiction that considers that all people of the future will wear jumpsuits, robes and capes. Only Barbara Bach emerges with any sartorial elegance in an impressive gilt-edged V-neck dress and a hairdo with an afroed fringe at one point. Ennio Morricone slums it attempting to conduct a John Williams symphonic score on a four-track synthesizer, which, apart from some nice heavy Gothic organ-lines, sounds expectedly ratty.
What we could have done without is the robot dog, clearly a copy from Doctor Who (1963-89)s K9, which cutely bleeps, wags its tail and a flap over its mouth while going ooh-ah, ooh-ah one cannot work out if the robot has any particular practical function, although it does urinate motor-oil to cause the baddies to slip up at one point. The filmmakers attempts to create a verbally sparring Han Solo/Chewbacca relationship between Kiel and the robot dog does cause one to groan (although one must admit that it gives Kiel his most likeable screen moments in moving him from a friendly hulk to a monster, the film not only wastes him but also manages to switch off any interest the character has). The Tom-Tom character, who uses the Buddhist mantra Om Mani Padme Hum as a magic spell (to the accompaniment of a music-box tinkle) and in the end goes off to the Sacred Land of Tibet (!!) is pretty funny.
Full film available online here:-