Promising blend of hard-boiled crime flick and campy detective yarn that doesn't quite go the distance. Pulpy plot features a gaggle of cartoony characters and Frank Sinatra at his wiseass best playing Florida private dick wrapped up in convoluted mystery centering on millionaire's daughter (Sue Lyon). Terrific supporting cast includes Gena Rowlands (looking lovely),Jill St. John (at her slinky, sexy best),Simon Oakland and Richard Conte, but the plot runs out of gas somewhere in the second act. A bit stronger than its immediate sequel, "Lady in Cement", and Sinatra's panache is definitely worth checking out. After getting out of a rickety elevator, he tells the female operator, "Nice riiide." **1/2 from ****

This is an interesting and very modern detective film. Frank Sinatra plays the title role--a private detective who seems very cool and disaffected. Of the three detective shows he made in the late 60s, I'd rate this one #2--behind the superior film "The Detective". However, this exceptional film is not related to "Tony Rome" or its sequel "The Lady in Cement". Regardless, Sinatra's world-weary performances were excellent--even if he seemed to try to make it look like he's not trying.

The film begins with Tony doing what seems like a very mundane and not at all dangerous task--bringing home a drunk young lady to her rich daddy (Simon Oakland). Oddly, however, this good deed ended up leading to an apparently minor task--to find the young lady's missing earring. And, this task led to murder...in fact, a LOT of murders and mayhem. By late 60s standards, this film is awfully violent and Tony isn't exactly always the macho hero. Although he generally gets the best of it, he, too, gets the crap knocked out of him a few times in this rough and tumble film.

As I said, I preferred Sinatra's "The Detective", but not by much. "Tony Rome" is a very good private eye film--a bit like a grittier version of "The Rockford Files"...minus most of the laughs. It's also odd that Tony is NOT the perfect manly sort of hero--especially since he repeatedly shows a stronger desire to wrap up the case than unwrap the very alluring Jill St. John--who spends much of the movie pursuing Tony. A very good film--especially since the mystery turns out to be a very interesting one. Worth your time.

By the way, a couple interesting parts in the film are a cameo by the ex-champ Rocky Graziano as well as a VERY unusual sort of role for the comic Shecky Greene. Also, I just loved Tony's line "This is not a family. Just a bunch of people living at the same address." Priceless and indicative of the sort of smart-allecky stuff he tosses about during the film.

Easygoing private detective Tony Rome (ably played with winning weary grace by Frank Sinatra) gets a seemingly simple job of driving drunken rich girl Diana Pines (an appealing portrayal by the cute Sue Lyon) back home after she's found passed out in a cheap hotel. Complications ensue when Diana's diamond pin is reported missing and Rome has to go into action to find it.

Director Gordon Douglas relates the engrossing and enjoyable story at a steady pace, offers a vivid evocation of the sunny Miami setting, maintains a fairly gritty tone throughout, and stages the occasional exciting outbursts of action with flair and skill. Richard Breen's sharp script presents a colorful array of low-life characters along with several neat twists and turns. Sinatra effortlessly carries the picture with his laid-back charisma and delivers his snappy quips with deliciously dry gusto. The ace supporting cast rates as another substantial asset: Richard Conte as Rome's loyal buddy Lt. Dave Santini, Jill St. John as sultry and enticing dame Ann Archer, Simon Oakland as powerful wealthy businessman Rudy Kosterman, Gena Rowlands as Rudy's deceitful wife Rita, Lloyd Bochner as slimy drug dealer Vic Rood, Robert J. Wilke as seedy hotel detective Ralph Turpin, and Shecky Greene as wormy limping hood Catleg. Popping up in nifty bits are Rocky Graziano as washed-up former boxer Packy and Tiffany Bolling in her film debut as a cocktail waitress who gets roughed-up by some toughs. Joseph F. Biroc's vibrant widescreen cinematography provides a pleasing polished look. Billy May's groovy score hits the right-on swinging spot. A really fun slice of 60's crime noir.