I'd watched this one before in a pan-and-scan version on Cable TV, but had lost the sequel LADY IN CEMENT (1968) a number of times on Italian TV; recently, I acquired both in anticipation of the 10th anniversary from the death of their leading man Frank Sinatra. TONY ROME was one of a number of films which, during the late 1960s, attempted to revive the private eye subgenre which was a staple of the Noir style prevalent from the early 1940s through the late 1950s. Others in this vein included HARPER (1966) and MARLOWE (1969); this kept on steadily till the late 1970s and, in fact, the whole movement acquired new resonance with the Watergate political scandal (reaching an apotheosis with CHINATOWN [1974]).
Anyway, to get back to the film proper: with its serpentine plot and roster of suspects spread equally between the idle rich and small-time losers, TONY ROME plays almost like an updated version of THE BIG SLEEP (1946); the fact that it works at all is due to the coming together of various elements. While the mystery as it evolves isn't particularly compelling, it's ultimately justified or, if you like, redeemed by the climactic revelation; besides, it features reasonably good dialogue, evocative Miami locales that are a heady brew of glamor and sleaze, several fashionably violent set-pieces, and ideal casting all around.
Sinatra who, on paper, might seem as unlikely in this mould as John Wayne would prove to be in the following decade brings his undeniable presence and vast experience to the role of the tough and cynical ex-cop/investigator/skipper. In his line of work, he comes into contact with all sorts of people: from classy dames (such as Jill St. John, Gena Rowlands and Sue Lyon all with their individual ticks, and either disenchanted with their lifestyle or fleeing from a shady past) to two-bit strippers, a wealthy businessman (Simon Oakland), a long-suffering cop friend (Richard Conte), as well as assorted low-life individuals (including Rome's corrupt ex-partner Robert J. Wilke, proscribed doctor Jeffrey Lynn and drug-dealer Lloyd Bochner) and brutish thugs; even real-life boxing champ Rocky Graziano portrayed by Paul Newman in SOMEBODY UP THERE LIKES ME (1956) puts in an appearance as a dockside peddler.
We even get a nice title tune sung by the star's own daughter, Nancy Sinatra though it seems odd to listen to her praising the amoral nature of his character! Incidentally, director Douglas would helm three consecutive thrillers with Sinatra in the lead (twice appearing in the role of Tony Rome) even if the best among them remains the other (more serious) effort, THE DETECTIVE (1968). Later still, Sinatra went down these same dark streets again in the made-for-TV movie CONTRACT ON CHERRY STREET (1977) and, in his very last starring vehicle, THE FIRST DEADLY SIN (1980).
Anyway, to get back to the film proper: with its serpentine plot and roster of suspects spread equally between the idle rich and small-time losers, TONY ROME plays almost like an updated version of THE BIG SLEEP (1946); the fact that it works at all is due to the coming together of various elements. While the mystery as it evolves isn't particularly compelling, it's ultimately justified or, if you like, redeemed by the climactic revelation; besides, it features reasonably good dialogue, evocative Miami locales that are a heady brew of glamor and sleaze, several fashionably violent set-pieces, and ideal casting all around.
Sinatra who, on paper, might seem as unlikely in this mould as John Wayne would prove to be in the following decade brings his undeniable presence and vast experience to the role of the tough and cynical ex-cop/investigator/skipper. In his line of work, he comes into contact with all sorts of people: from classy dames (such as Jill St. John, Gena Rowlands and Sue Lyon all with their individual ticks, and either disenchanted with their lifestyle or fleeing from a shady past) to two-bit strippers, a wealthy businessman (Simon Oakland), a long-suffering cop friend (Richard Conte), as well as assorted low-life individuals (including Rome's corrupt ex-partner Robert J. Wilke, proscribed doctor Jeffrey Lynn and drug-dealer Lloyd Bochner) and brutish thugs; even real-life boxing champ Rocky Graziano portrayed by Paul Newman in SOMEBODY UP THERE LIKES ME (1956) puts in an appearance as a dockside peddler.
We even get a nice title tune sung by the star's own daughter, Nancy Sinatra though it seems odd to listen to her praising the amoral nature of his character! Incidentally, director Douglas would helm three consecutive thrillers with Sinatra in the lead (twice appearing in the role of Tony Rome) even if the best among them remains the other (more serious) effort, THE DETECTIVE (1968). Later still, Sinatra went down these same dark streets again in the made-for-TV movie CONTRACT ON CHERRY STREET (1977) and, in his very last starring vehicle, THE FIRST DEADLY SIN (1980).