Watch Tony Rome For Free

hyped garbage

A Masterpiece!

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

I watched this movie with my brother when we were in high school, and we couldn't stop laughing. It's pretty much a non-stop joke fest about sex, body parts, prostitution, and more sex. Back in the sixties, it was pretty wild to be able to make those jokes, since the previous three decades were ruled by the Hays Code censorship. Nowadays, these jokes might only be funny to teenagers, or teenagers at heart.Frank Sinatra plays, well, Frank Sinatra. He has a revolving door of good looking broads, shoots bad guys, parties, and hangs out at strip clubs. His character in the film is slightly different, as he's a private detective and lives on a houseboat in Miami Beach, but I guess if Tony Rome had taken place in Las Vegas, it would have felt too much like a documentary. The three main broads are Jill St. John, Gena Rowlands, and Sue Lyon, but there's a buffet of babes in bikinis and lingerie if you're watching the movie for the eye candy.The detective-theft part of the plot isn't particularly extraordinary, but is anyone really watching it for that? No, we want to watch Frank Sinatra juggle scantily-clad babes and crack sex jokes. And we'll be very happy.

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.

Copyright 10 November 1967 by Arcola-Millfield Productions. Released through 20th Century-Fox. New York opening simultaneously at the Astor and the Murray Hill: 15 November 1967. U.S. release: 10 November 1967. U.K. release: 21 January 1968. Australian release: 29 February 1968. Sydney opening at the Regent. 9,898 feet. 110 minutes.SYNOPSIS: Tony Rome is a Miami private eye who lives on his boat, the Straight Pass. Summoned by his ex-partner, Ralph Turpin, who runs a motel, Tony removes a drunken socialite, Diana Pines, and takes her home to her rich father, Rudolph Kosterman, and her stepmother, Rita. Kosterman hires Tony to discover what troubles Diana.NOTES: Last film of long-time (since 1946) Hollywood writer, Richard L. Breen (A Foreign Affair, Miss Tatlock's Millions, Top o' the Morning, Appointment with Danger, Niagara, Titanic, etc.) who died before finishing the script. Novelist Marvin H. Albert was brought in to tidy up. Location scenes filmed in Miami, Florida. Sinatra's first film as a detective. A sequel, "Lady in Cement", was released in 1968.COMMENT: It is only on rare occasions that I can remember the gags in a film — when they are so screamingly funny, I keep laughing them over and over as I leave the theatre. I can remember three from Tony Rome. Sinatra, being accosted by a gun-man. "Good evening", snarls the gun-man. "How are ya?" asks Sinatra; Conte, referring to a suspect: "This guy has so many aliases, he could start his own telephone book!"; Sinatra, bribing a reluctant witness who then waffles: "I don't know. Have you got another twenty? Are you sure you're not a cop?" — "You ever hear of a cop that had another twenty?"Sinatra is perfect in the title role and the supporting cast is most interesting. A fine assortment of characters are lovingly etched under director Gordon Douglas' tutelage, while action director Buzz Henry (who also plays the elusive Nimmo) uses the vast CinemaScope screen to effectively put over some really terrific material that will have audiences on their toes. The plot spun by Marvin H. Albert and the late Richard L. Breen keeps one guessing and alert throughout its wonderfully complicated trails. Joseph Biroc's DeLuxe Color, Panavision camera most persuasively captures all the travelogue (and not so touristy) vistas of Miami, from sparkling playgrounds to dingy strip-clubs.So many interesting players highlight the cast, I simply don't have space to commend them all here, but must draw attention to boxer Rocky Somebody Up There Likes Me Graziano, legendary Hollywood restaurateur Mike Romanoff, nightclub comedian Shecky Greene, Batman series scriptwriter Stanley Ross, and newcomer Deanna Lund who went on to star in the Lost in Space TV series.A Final Word or Two from Fox Publicity: In the face of all the logistical complications involved in filming a motion picture almost entirely on 65 widely separated locations, "Tony Rome" completed production almost four weeks ahead of schedule, an achievement virtually without precedent in the history of major motion picture production. Primarily responsible for this feat were Sinatra himself and director Gordon Douglas. It was Sinatra's phenomenal verve and energy which booted the production along at this fantastic clip, and "one-take" Douglas who was always ready when Sinatra was. Frank is one actor who hates directors like William Wyler who take forever to line up shots.

Frank Sinatra stars as an off-beat boat-living private eye who gets caught up in a convoluted plot which stars when the young daughter of a wealthy construction company boss passes out drunk at a hotel and gets an expensive piece of jewellery stolen from her. You'd hardly think that was enough to trigger a slew of murders but sure enough Sinatra's Tony Rome gets roped in and finds himself involved with beautiful women and gun-toting criminal types giving him plenty of time to display laconic humour and tough-guy smarts before solving the puzzle in the last ten minutes. So labyrinthine is the plot that you know someone's going to have to give a lengthy expositionary speech to join all the dots and sure enough that's what we get.Set in the sun-kissed but sleazy side of Miami, the movie shows its vintage with some crude sexism, the first and last shots indeed being of bikinied beach babies bending over as the camera zooms in a blatantly vulgar way likewise the references young hipsters of the day, portrayed as either frugging frenziedly to imitation beat music on the soundtrack or being sex-addicted like the young honeymooners in the boat next to Rome's.So far so bad, but on the positive, Sinatra breezes through the part with élan, almost matched for chutzpah by Jill St John's voracious Ann Archer character. There are some neatly acerbic lines too, but the story lacks bite and with clichéd characterisation (particularly its depiction of prostitutes, gays and junkies) and direction to match, it fails to reach the top echelon, although it must have done well enough in its day as it garnered a similar-quality follow-up "The Lady In Cement" the next year.