Feldman plays Digby Geste, the awkward and clumsy "identical twin" brother of Michael York's Beau, the dignified, aristocratic swashbuckler.

Spoofing the classic Beau Geste and a number of other desert motion pictures, the film's plotline revolves around the heroic Beau Geste (York) and his "identical twin brother" Digby's (Feldman) misadventures in the French Foreign Legion out in the Sahara, and the disappearance of the family sapphire, sought after by their money-hungry stepmother and the sadistic Sergeant Markov (Ustinov).

Feldman had appeared in two film spoofs made by actor-writer-directors, Mel Brooks' Young Frankenstein and Gene Wilder's The Adventure of Sherlock Holmes' Smarter Brother.

[13] Kino Lorber released a Blu-ray special edition of "The Last Remake of Beau Geste" [14] featuring a commentary from Alan Spencer that verbally recreates Feldman's cut.

[15] Vincent Canby of The New York Times wrote a positive review of the film, describing it as having "a whole range of jokes that are funny primarily because they are in absolutely terrible taste.

"[18] Charles Champlin of the Los Angeles Times wrote, "There are too few jokes and rapturous inventions to sustain even the movie's brief 85 minutes, some of those that exist are strained too hard and some should have been dropped after the first draft.

"[21] Rex Reed called the film "a bogus Foreign Legion farce by alleged comic Marty Feldman, who looks like a boll weevil with glaucoma.

Feldman eats paper, falls on his bug-eyed face in the mud, and has the gall to superimpose himself onto film clips of Gary Cooper from William Wellman's original masterpiece Beau Geste.

The Last Remake of Beau Geste is vulgar and a disgraceful waste of Universal's money and the talents of Ann-Margret, Peter Ustinov and James Earl Jones.

Wren's desert classic of brave legionnaires is really a third-rate imitation of Brooks' raunchy, reckless film comedies—and done with a very heavy hand, at that.

"[23] "Yet the whole movie is good entertainment in the best Feldman, Mel Brooks, Peter Sellers tradition", wrote Michael Ward of The Plain Dealer.

[24] R.H. Gardner of The Baltimore Sun said "has the same air of fine madness that pervaded [Feldman's prior successes] with one noticeable difference: it isn't very funny.

Certainly, "Beau Geste" and the genre of films it represents cry out for spoofing, and Feldman has contributed some nice touches, including a segment from the one that starred Gary Cooper in the Thirties.

"[25] Bruce McCabe of The Boston Globe called it "a surprisingly sturdy little piece of summer wackiness, its slapstick balanced by some wit.

"[27] Martin Malina of The Montreal Star wrote that "the trouble with The Last Remake of Beau Geste is that many of these gags are stretched and repeated beyond risibility.

The pages blow off the calendar again and again: Ustinov keeps changing peg-legs; Ann-Margret keeps leering at men: and the film keeps cutting to Trevor Howard in bed 'alive and dying' — all subject to the law of diminishing laughs.

"[28] Dave Lanken of the Montreal Gazette called the film "a series of fresh and funny things visual jokes, witty exchanges, zany concepts and silly takeoffs.

"[31] Will Jones of The Minneapolis Tribune wrote that "Feldman has put together some sort of 'Beau Geste Meets Hellzapoppin' on the Road to Morocco' whose over-all tone falls closer to juvenile than sophomoric, and dusted with enough scatological crudities to strike an average English vaudeville audience as about par for the evening.

The ups and downs between these extremes in 'The Last Remake of Beau Geste' render one rather too dizzy for any sensible critical comment on Marty Feldman's first very own comedy feature.

The bug-eyed comic wrote and directed this exhaustive spoof on the romantic English balderdash that has made "Beau Geste" perennial camera fodder.

David Robinson of The Times wrote that "the somber lesson of the film is that, with Marty Feldman's material, the harder people try the less funny they tend to be.

Peter Ustinov (wooden-legged Legion general), Roy Kinnear (his wooden-headed side-kick) and Spike Milligan (crumbling butler) also try far too much.

In the outcome Ann Margret and Michael York, playing it just off straight, come off best, apart from a treasurable scene between Irene Handl as proprietress of a Dotheboys orphanage and Trevor Howard as Sir Hector Geste, seeking to purchase his Beau from her much-soiled stock.

"[34] A set of paragraphs were written about the film by Patrick Gibbs of The Daily Telegraph, which read as follows: HAVING ACTED in some of Mel Brooks's "send-ups," Marty Feldman, of the pop eyes and small size, evidently thought he could do it himself.

Their adventures in the French Foreign Legion, after that awful business of the missing diamond belonging to Sir Hector's new wife (Ann-Margret), are much as one would expect, given that the sadistic Sgt.

[36] Alexander Walker of the London Evening Standard wrote that "the trouble with The Last Remake of Beau Geste is that while it is packed with hilarious sight gags, they don’t seem connected to the parody that is always promised (but ultimately never delivered) of P.C.

Marty Feldman's troika role as star producer and director may account for the frenetic tone of a film that often feels as if it to be in three places at once.

"[37] Arthur Steele of the Birmingham Evening Mail called it "just the kind of film I’d imagined Marty Feldman would produce if someone let him make one of his own.

A wild farrago of mixed parodies, it takes the stuffing out of every corn-bred celluloid cliche from Dickens’s poverty-ridden melodrama and the flickering silent sheikdom of Valentino to the sand-sagas of the Foreign Legion.

"[40] Colin Bennett of The Age said that "for nearly half its duration the skitting makes a beau jest—visually inventive, at its best hilarious—before it runs low on inspiration and lowers its sights to speeded-up Feldman TV slapstick in the Sahara.