7 Faces of Dr. Lao, Tony Randall & George Pal Fantasy, 1964

This poster advertises Metro-Goldwyn-Mayer’s fantasy film "7 Faces of Dr. Lao" (1964), a George Pal production starring Tony Randall, Arthur O’Connell, Barbara Eden, John Ericson, and Noah Beery Jr. The credits along the lower border note the screenplay by Charles Beaumont and direction by George Pal, with the film promoted as being presented "in Metrocolor." The layout follows the classic American one-sheet format, with studio and production information stacked beneath the title and star billing. The central illustration shows Dr. Lao as a serpentine, many-bodied figure whose twisting form sprouts the various faces Randall portrays, including Medusa and other mythical characters. Rendered in a loose, expressive pen-and-ink style with bold cross‑hatching and patches of saturated color, the artwork reflects mid‑1960s comic and pulp illustration influences, bordering on psychedelic with its exaggerated anatomy and vivid greens, yellows, and magentas. The typography contrasts blocky, distressed red lettering for the title "7 Faces of Dr. Lao" with tall yellow and blue sans‑serif credits, while taglines such as "Bolt the doors! Lock the windows! Dr. Lao’s coming to town!" and small vignette panels (“THRILL,” “SEE,” “WATCH,” “HEAR”) evoke carnival posters and sideshow banners. The original would likely have been printed by offset lithography, typical for U.S. studio posters of the period; the visible fold lines, minor speckling, and slight edge wear in this image suggest it was originally issued for theatrical display. As a piece of film ephemera, this design captures 1960s Hollywood’s fascination with fantasy spectacle and character makeup, while also illustrating how studios used bold illustration and sensational copy to market family-oriented yet otherworldly stories. Why this piece matters: The poster encapsulates George Pal’s legacy as a pioneer of cinematic fantasy and special effects, and it visually foregrounds Tony Randall’s tour‑de‑force multiple roles. Its hybrid of comic-book line work, carnival typography, and bright Metrocolor palette offers insight into mid‑century poster design, when hand-drawn illustration still dominated film advertising on the cusp of the more photographic styles that would define the later 1960s.