1967 in Film: Tony Rome (1967)

with 15 Comments

The late 1960s were a turbulent time of new cultures, changing norms, and shifting values, and one place that was immediately obvious was in Hollywood. With the downfall of the studio system, the impending doom of the Code, and the radical growth of political cinema around the world, the American movie industry was working hard to alter its course and deliver films that would satisfy a hungry audience of increasingly younger viewers looking for something new. So it’s fitting that even the detective movie, a standard genre since nearly the inception of film, had been turned on its head a bit at this time—in 1967, we saw crime films increasingly turn away from the infallible hardboiled super genius, moving instead to neo-noir and counterculture films like In the Heat of the NightIn Cold Blood, and Tony Rome.

sinatra-casualTony Rome, directed by Gordon Douglas, stars Frank Sinatra as the eponymous detective. The film is set in Miami Beach—or “20 miles of sand in search of a city,” as Tony describes it. A former cop turned private detective now living on a houseboat, he’s called in to help an old friend from the force who’s  working private security at a Miami Beach hotel. The beautiful daughter of a wealthy local construction magnate has passed out in one of their rooms, surrounded by expensive vodka, and, seeking to avoid the negative publicity of an official investigation, they ask Tony to bring her home, keeping the hotel’s name out of the press. He accepts the job as a favor to his former partner—as long as they double the rate, of course.

The girl is Diana Pines (Sue Lyon), and the dysfunctional family Tony finds at her palatial estate includes father Rudolph Kosterman (Simon Oakland) and stepmother Rita (Gena Rowlands). All three of them end up hiring Tony to their own ends, although, to Tony’s credit, he won’t accept a job that directly conflicts with one he’s already accepted. Tony’s moral compass is firm, even if his idea of “immoral” may be relatively narrow—he does offer information between the various players without much hesitation, upon payment.

tonyrome-prodAs a detective, Tony Rome is pretty much exactly what you’d expect given that he’s played by Frank Sinatra: we rarely see him without a drink or a dame in his grip; he’s wry and self-deprecating, but always with an element of bravado in his swagger. He moves seamlessly between respectable types and the criminal underworld, and he spends an almost equal amount of time trading flirty bon mots with pretty women as he does actually working on the case. Of course, it just so happens that many of his clues fortuitously lead him into the arms of said pretty women, so he can’t really help it, and at least he’s able to save some time by doubling up. In at least a few scenes, this can be a bit confusing—there are several points in the story where I have to remind myself which busty redhead he’s talking to.

And though it can be hard to keep them straight sometimes, I do love the women of Tony Rome, perhaps most of all. Jill St. John, who plays Ann Archer, has one of my favorite character introductions of all time: still decked immaculately in an evening gown and jewels the morning after a party, she passes Diana on the staircase (we later discover Ann has been sleeping with Diana’s new husband). “Slut!” Diana hisses at her. Without missing a beat, Ann turns to Tony, parlaying the potential embarrassment into a flirtation by purring: “Well, now that I’ve been introduced, who are you?” On the whole, the women of Tony Rome are just as clever as he is, often more aggressive, and able to take control of their own situations, while also acknowledging the limitations of their standing—another describes a fellow as having “bought a few drinks I paid for.”

tonyrome-suitThe Miami setting makes perfect sense for the ultimate American view of the Swinging Sixties, but the location also positions Tony as something of an outsider by the way he dresses and carries himself. Even in the midst of bikini beauties—and the Florida heat—when Tony’s on the job, he wears a full suit, black tie, and, of course, his trademark fedora. Off the clock, he’s more casual in polos, khakis, and a sailor’s cap, but his work uniform signifies his membership as part of the old guard. This is likely an influence of Sinatra as well, as he reportedly favored the fedora to mask a receding hairline, and after years of natty dressing, he and his tailors certainly knew what worked for him in the clothing department. But it sets Tony apart from the other younger characters in a big way, as it’s impossible not to notice that he’s often the only person in a room wearing a hat, or in some cases, an actual shirt and pants. It strengthens his balance of the power dynamic visually, but style-wise, it also feels like he’s grasping to hold onto that power in the face of a new generation of hatless youngin’s. That tension between the older and younger generations isn’t explicitly highlighted throughout the film, but I think it’s an important element to observe nonetheless.

tonyrome-beachVisually, the film is a great example of trends in late ’60s photography, with cinematographer Joseph Biroc making good use of Miami’s vibrant colors and sun, as well as its dark, seedy underbelly. Jarring camera techniques that call attention to the filmmaking—fast zooms, match cuts between (I swear I’m being totally serious here) two different butts, and the like—add to the hip, irreverent style of the film. Tony Rome is not Sam Spade, and Tony Rome is not Maltese Falcon—and 25 years later, they really shouldn’t be anyway.

The plot of the movie does get a little murky, but it’s consistently entertaining through its style and interactions between the characters. Douglas and Sinatra followed up Tony Rome with The Detective and A Lady in Cement, the latter of which is a sequel to Tony Rome. They’d previously collaborated on Young at Heart and Robin and the 7 Hoods.

“Action so fast it’s a wonder Tony Rome stays alive… and single!”

This post is part of The Rosebud Cinema and Silver Screenings1967 in Film Blogathon. Check out the rest of the entries here.

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15 Responses

  1. […] Vintage Cameo […]

  2. Silver Screenings
    | Reply

    I love that photo of Frank Sinatra relaxing at the beach in his white shirt and tie! I also love the line about sand in search of a city.

    It’s a bit embarrassing for me to admit how many of the films in this blogathon I haven’t seen, and “Tony Rome” is another one. Even though the plot seems a bit “murky”, as you described, I think it would be a terrific movie. In my opinion, Sinatra is a terrific actor who makes a movie better than it might otherwise have been.

    Thanks for joining the blogathon with a look at “Tony Rome”. :)

    • Emily
      | Reply

      That’s the best part of these blogathons (especially with a topic that can accomodate such a wide range of interests)—finding so many things to watch! Though my Netflix queue never seems to appreciate it… :) Thanks for hosting and letting me revisit this fun flick!

  3. […] Vintage Cameo – Tony Rome […]

  4. Jeff Flugel
    | Reply

    I love a good private eye flick and TONY ROME is a fine example of one. Good point about how Sinatra, once a Young Turk himself, here representing the old guard. This has a nice, jazzy, boozy, seedy vibe to it, the 60s in full swing, and Sinatra seems more engaged than usual. Gotta love the final shot of the film – the fast zoom in on a bent over Ms. St. John’s bikini-clad butt. Sophomoric, but stylish.

    Nice post!

    • Emily
      | Reply

      Haha, the bookended butt zooms were the perfect introduction and conclusion to the film—totally seedy but in the most fun way possible.

  5. mikestakeonthemovies
    | Reply

    Love Sinatra on screen during this era. As with many leading men they get that world weary look that plays well. Fits this role well. Nicely done

    • Emily
      | Reply

      It looks great on him, and it really works within the film by kind of enhancing that worn, weary side. Definitely one of those roles where it’s hard to imagine anyone else!

  6. girlsdofilm
    | Reply

    Ashamed to admit I haven’t seen this one – it looks fab. And I love your line about Sinatra – ‘we rarely see him without a drink or a dame in his grip’ – always so happy to see he lives up to his own stereotype. Adding to my watchlist!

    • Emily
      | Reply

      I think you’ll enjoy, if only for Sinatra’s always immaculate suiting and the 8am full jewels and evening wear! :)

  7. This one put Sinatra on the map as an actor for me! What a tight and colourful movie, and it showcases blue-eyes in the light that shows him off best!

    Great write-up, thanks!

    • Emily
      | Reply

      Awesome! I saw it later in my exploration of his career, but it’s a totally fun watch—and Ol’ Blue Eyes definitely looks great in the Miami sun!

  8. kristina
    | Reply

    Big Sinatra fan and agree this one makes the most of his cool image which was fine tuned by that point, have to revisit it sometime. good choice!

  9. | Reply

    I remember seeing the beginning of the movie one night and the song staying in my head for days. Unfortunately, I didn’t stay to watch (maybe I was still at high school and had class early?), but, gal, how I regret it! And it has Sue Lyon! I won’t pass the opportunity the next time…
    Don’t forget to read my contribution to the blogathon! :)
    Kisses!
    http://criticaretro.blogspot.com.br/2014/06/o-fabuloso-dr-dolittle-doctor-dolittle.html

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