Reviewed by Colin Jacobson (June 2, 2026)
As part of a generation that grew up with Tony Randall as Felix Unger and then as cultured/quick-witted talk show guest, it boggles the mind to imagine him as a role that requires him to take on a variety of guises. Nonetheless, Randall got to explore his inner Peter Sellers via 1964’s fantasy/comedy 7 Faces of Dr. Lao.
Circa the early 20th century, the small town of Abalone, Arizona deals with tumult because wealthy rancher Clinton Stark (Arthur O’Connell) learns a railroad wants to come to the area. To capitalize, he wants to buy all the local property at bargain rates so he can resell it for a profit when the developers arrive.
Newspaperman Edward Cunningham (John Ericson) and librarian/schoolteacher Angela Benedict (Barbara Eden) oppose Stark’s efforts. As the confrontation builds, mystical circus operator Dr. Lao (Randall) sets up camp and provides experiences that enlighten the residents to see differing perspectives.
Whatever positives come with Faces, it brings one negative: the use of Randall in “yellowface”. Not only does the exceedingly-white Randall play an Asian, but also he does so in the most broadly stereotypical manner possible.
Though not without caveats there, as Dr. Lao doesn’t always come across that way. Indeed, the character sports a mix of accents throughout the film, a factor that makes him seem more like an impish trickster who puts on the over-the-top Chinese voice to toy with the locals.
I admit I don’t fully understand the rhyme or reason related to Dr. Lao’s depiction, especially because so few of the other characters appear to notice his frequent changes of intonation. The portrayal of Dr. Lao becomes an off-putting element early in the film, but once the fantasy elements settle, it seems less bothersome.
Again, largely because Dr. Lao doesn’t always remain a broad stereotype. If the film forced Randall to behave that way start to finish, it’d harpoon the tale ala Mickey Rooney’s offensive Japanese character in Breakfast at Tiffany’s, but the part’s shifts pretty much allow Randall to escape that fate.
Beyond potential issues with Dr. Lao’s cartoonishly Chinese moments, Faces allows Randall a real showcase since he portrays so many other roles as well. He’s the one behind the seven faces and these require him to take on a wide variety of personae.
Randall handles these with aplomb and becomes the film’s primary highlight. I never would’ve thought Randall could lose himself ala Peter Sellers this way but darned if he doesn’t pull off the various demands.
Beyond Randall’s deft performances, Faces can sputter, if just because it comes with an exceedingly loose plot. Although the tale ostensibly revolves around Stark’s scheme and resistance to it, most of the movie simply shows the townsfolk as they interact with Dr. Lao or other characters in his camp.
This means Faces mostly acts as a series of moral lessons. The various circus people – all of whom are actually guises used by Dr. Lao – interact with their guests in ways that influence and impact them.
These story beats connect to the overall narrative but in reality, they feel fairly standalone. Faces would probably work just as well without the elements connected to Stark’s scheme.
Which comes back to the movie’s primary positive: Randall. I do like the movie’s various effects and director George Pal makes the tale progress at a fairly brisk pace, even if it doesn’t tend to bring much real drama.
Even with a plot that fails to really go anywhere, Faces brings plenty of charm. I can’t call this a great film but it becomes one with enough positives to make it enjoyable.
