Plantiana
Yawn. Poorly Filmed Snooze Fest.
Pacionsbo
Absolutely Fantastic
Aiden Melton
The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.
bcstoneb444
One could make a case that 'Tony Rome' is the best private eye movie of the 1960s. Also we could argue that it's the first neo-noir, depending how one defines these things. In any case a lot of the film's success can be attributed to Sinatra, who is just terrific. The Tony Rome persona is clearly in the tradition of the classic private detective. However, Sinatra gives the character a more laid back, hip quality than the usual Old School tough detectives we saw in the 1940s, played by the likes of Bogart, Mitchum and Dick Powell. Given the setting and lifestyle, the character of Rome is also an obvious first cousin to Travis McGee of the John D. MacDonald novels. Moreover, in its way the film anticipates Miami Vice of two decades later. The style and mood is more early than late 60s, and there is a whiff of 007 with the lush Miami Beach backdrop, zingy repartee, frequent consumption of alcohol, top-notch production values, and beautiful women. And like the Bond films of that era, some of the sensibilities are, by today's standards, decidedly un-pc. To wit: Rome's penchant for violence, to the point of sadism; and the depiction of most of the women characters as little more than sex objects. Still, the film provides a good time capsule-like view of what Miami Beach was like a half century ago. Perhaps the best thing about TR is the cast of quirky secondary characters, played to perfection by the fine supporting cast. Refreshing to see Richard Conte as a cop instead of a mobster. And Jill St. John makes for a fetching (semi)romantic interest for Rome. There's not much that's new in 'Tony Rome,' but there's not a lot that's wrong with it either.
dougdoepke
Sinatra's PI, Tony Rome, shrewdly uses verbal parry and thrust instead of muscle to clear things up. It's a showcase for the actor, without a tuneful song in sight. Plot-wise he's got to figure out where an expensive diamond pin went and where the heck bad guy Nimmo is. Along the way, there's a lot of scenic Miami Beach and bikini clad skin, mainly Jill St. John's. But what grabbed me was the innuendo, intentional or not. Catch the brief scene with Mrs. Schuyler and her repetition of a lost pussy. That exchange with Rome is simply dropped in, and has nothing to do with the plot. Perhaps it was included on a dare. Tellingly, there're other, albeit passing, innuendos, as well. After all, this was a period when the counter-culture was taking hold and the repressive Production Code was all but dead.It's also a good chance to catch a number of Hollywood vets in supporting roles, especially noir icon Richard Conte as a cop. All in all, it's a smoothly done (Gordon Douglas) eye- catcher. Moreover, the high-key Technicolor is about as far from classic gumshoe noir as possible. Happily for Sinatra the actor, it's a restrained showcase. Just bring your note pad to keep up with the tricky plot.
kai ringler
I really didn't care for this one that much,, being that it was Frank Sinatra Ole, blue eyes I expected a heck of a lot more and I was sadly disappointed, there were a few good things going on early 60's Miami Beach seeing Frank as a Mike Hammer type of detective, and of course the ever seductive and sexy Jill St. John, other than that I hate to say that I was utterly bored with it.. Ole blue eyes is hired by the father of a girl who loses her diamond pin, and it's up to frank to find out,, when he does it turns out to be a fake,, then you throw in the Mob, and other guys going after Ole Blue Eyes and it get's a little interesting, but truthfully I would rather watch Mike Hammer to be perfectly honest.
bensonmum2
Frank Sinatra does his best to bring the tough talking, hard drinking, womanizing detectives of the 1940s into the 1960s. Sinatra plays detective Tony Rome much like I would image Bogart would have had he been alive. Sinatra doesn't do much of anything that Bogart wasn't doing when he played either Philip Marlowe or Sam Spade. In fact, beyond the characters, there are other similarities. Much as Bogart had his falcon, Rome has his diamond stickpin. And just as Bogart was forever carrying Carmen Sternwood home after one too many, Rome seems to be always at hand to make sure the Kosterman daughter gets home safely. In a way, it's this familiarity that makes me enjoy Tony Rome more than I probably should. Realistically, I've probably overrated the movie. You're not going to find anything award worthy here and Sinatra is doing little more than playing Sinatra. But it is fun and I always have a good time watching it. The mystery surrounding the stickpin keeps my attention even after having seen the movie three times. And what more can you really ask of a movie. Other highlights for me beyond the plot include some really cool scenes of Miami in the 60s and Jill St. John in a bikini.
