Frank Sinatra is never the guy I think of when visualizing a private dick (when my brain isn't corrupted with Humphrey Bogart spatting out saucy lines it leans more toward pulp fiction heroes that dopplegäng John Payne), so I suppose we just have to go along with his Philip Marlowe mimicry in "Tony Rome", even if he isn't so quick to sneak in a one-liner and isn't the usual young guy looking for justice aged quicker due to pessimism and gin. Sinatra is never anything less than likable — he was one of the few singers who could act his ass off and convince us that no job could ever be too difficult to master — and "Tony Rome" thrives off of our inability to do anything but want him to win the battle that pits him against a bunch of glamorous two-faces. It's better than his other late-'60s Sam Spade imitation, "The Detective" (fearless but tiresome), and it's a lot more tolerable than his later career moments that attempted to disguise him as a young buck, when he, in fact, was a wizened old buck. It's breezy and shimmering, a neo-noir without all the hardcore grit of the other cop pieces of the era.In "Tony Rome", Sinatra's titular portrayal is put to good use as he investigates the bizarre behavior of a millionaire's daughter (Sue Lyon). Middle-aged, tired, and living on a houseboat, Rome has lived the life of a detective for decades, only succumbing to the tirelessness of it all in recent years. He's an ace at what he does — just don't expect him to get very involved with his clients. Because here, he has three: the daughter, who wants his help in solving her many predicaments, her father (Simon Oakland), and his chic wife (Gena Rowlands), who happens to be her distanced stepmother. Also involved in the story is Ann Archer (Jill St. John), a sultry divorcée with little purpose besides love interest fodder.Set in Miami Beach, "Tony Rome" has a feeling of boundless sexy heat, Rome's job always seeming romantically dangerous, as the thugs are always shady characters instead of people and the women are decorations made to disappear as soon as a potential sequel is announced. The film is nothing more than studio fluff meant to modernize the private detective noir era, with a bona fide star leading the way no less — but it's enjoyable. Sinatra suits the role, St. John providing him with a presence at once seductive and self- aware."Tony Rome" is much less imaginative than the darkened crime thrillers it so desperately tries to emulate, but it's agreeable and well acted — a cut above many films of the late-'60s, which was, no doubt, a shaky era. So I'm not just glad Nancy Sinatra sings the title tune like the star isn't her father; I'm also glad Frankie gets to put his blue-eyed appeal to good use.

Revisited this recently after remembering it as pretty good when I was a kid. Boy has this not dated well.From the opening cringe inducing theme song from his daughter Nancy..I knew I was in for trouble.I am a big Sinatra fan but this was about as hard boiled and action packed as an episode of Adam-12. It is so square and lame it is laughable. Let's face it..if Jill Saint-John looks like she could kick Frank's ass..all bets are off.You see Frank drinking beer,smoking and playing Gin now and then. Snore. He also comes off as He thinks he is gods gift to women.Lying on the beach in a beach chair with a black gangster suite is a howl with his stick thin legs sticking out.

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.

Sinatra's take on Dino's "Matt Helm" is "Tony Rome," with a rousing theme song sung by his daughter, Nancy Sinatra. It starts out flashy with Ol' Blue Eyes as a bachelor/private detective and loving it, with plenty of eye-candy like Jill St. John. Her presence makes it feel like Connery's Bond movie "Diamonds Are Forever." They do have great chemistry and their scenes together make for most of the film's charm. "Tony Rome" does have some recognizable faces and names for die-hard film buffs, including Gena Rowlands, Simon Oakland, Richard Conte, a fun role for Joan Shawlee (one of Billy Wilder's constant actors) as a "lady" Sinatra interrogates and who propositions him, and a rare 60s role for 1930/40s actor Jeffrey Lynn, who you'd miss, if you didn't know him. But, the film's major flaw is its length and its emphasis on characters introduced late in the film, which makes the viewer confused, having to deal with so many interested parties in "the case of the missing jewelry," and of whom the viewer has not invested any interest in. Therefore, the viewer is left wondering what happened and feeling rather unsatisfied. A movie similar in tone, but done much better is Paul Newman's "Harper." But, I give it a 5 for a good beginning and Jill St. John making the most of her role.