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The Last Remake of Beau Geste (15-Jul-1977)

Director: Marty Feldman

Writers: Chris Allen; Sam Bobrick; Marty Feldman

From novel by: Percival Christopher Wren (characters based on)

Keywords: Comedy, Action/Adventure, Foreign Legion, Spoof, Marijuana

NameOccupationBirthDeathKnown for
28-Apr-1941   Carnal Knowledge
Ted Cassidy
31-Jul-1932 16-Jan-1979 Lurch on The Addams Family
Sinéad Cusack
18-Feb-1948   Stealing Beauty
Marty Feldman
8-Jul-1933 2-Dec-1982 Eye-gor in Young Frankenstein
Henry Gibson
21-Sep-1935 14-Sep-2009 Laugh-In
Hugh Griffith
30-May-1912 14-May-1980 Sheik Ilderim in Ben-Hur
Irene Handl
27-Dec-1901 29-Nov-1987 Matronly British character actor
Trevor Howard
29-Sep-1913 7-Jan-1988 Sons and Lovers
James Earl Jones
17-Jan-1931   Voice of Darth Vader and CNN
Roy Kinnear
8-Jan-1934 20-Sep-1988 Willy Wonka and the Chocolate Factory
Burt Kwouk
18-Jul-1930   Cato in Pink Panther films
Ed McMahon
Talk Show Host
6-Mar-1923 23-Jun-2009 The Tonight Show
Spike Milligan
16-Apr-1918 27-Feb-2002 The Goon Show
Henry Polic II
20-Feb-1945 11-Aug-2013 Jerry Silver on Webster
Avery Schreiber
9-Apr-1935 7-Jan-2002 Burns and Schreiber
14-Jul-1911 8-Jan-1990 Private's Progress
Peter Ustinov
16-Apr-1921 28-Mar-2004 British stage actor
Michael York
27-Mar-1942   Logan's Run


Review by James I. Miller (posted on 29-Dec-2007)

In typical Marty Feldman fashion, "The Last Remake of Beau Geste" is such a broad farce that the origonal story is barely recognizable and the sight gags and slapstick action are worthy of Monty Python and the Three Stooges. It has been some thirty years since I saw this film, but several scenes are forever burned into my memory. We are first introduced to the Sahara Desert by the ever-classic mode of being conducted into a beautifully paneled library, where the host spins a large globe, stopping it with a gentle touch, and placing his finger on north Africa. The camera zooms in ever so tightly until we can actually see the grains of sand making up the desert. Enter a troop of the French Foreign Legion marching in perfect order, falling rank by rank into the hole left by the host's gigantic fingertip. Another scene, which I was sorely tempted to steal for my novel "The Four Hills of Sealoch," is shot in a great castle. The cold, stone interior is brought to elegance with heavy drapes, mahogany paneling, and huge, frosted windows. The walls are hung with an excessive array of hunting trophies, from wild boar and elephant heads to lions and tigers. The stone floor is elegantly covered with animal hides--polar bear, deer, and a giraffe pelt with its neck extending down a long hallway leading from the room. Feldman's bug-eyed comedy smashes its way through the vaguely familiar plot with all the elegance of a rhino in an art museum, but with such side-splitting antics that you tend to forget the story line anyway. This is not Feldman's best performance as a comic actor. It takes someone of Wilder's or Brooks' discipline to bring him into line with a real plot where he can better interact with his fellow characters, but it is certainly worth a couple of hours of your time to see him at his own creative best.

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