Synopsis: Alan Terry is a young homeless man who, when trying to find somewhere to shelter for the night, witnesses the vicious gangland execution of an Italian businessman. Although spotted by the killers he escapes and the following day goes to the police, only to recognize the detective in charge as being one of the men responsible. Fleeing the station, Alan seeks advice from George, an ex-journalist and now follow down-and-out who takes the young man under his wing. Believing that getting the truth published in the newspapers is the only way Alan can be safe, he puts him in contact with Billie Hayman, an eager reporter hungry for a good story. Initially, she is skeptical of Alan’s claims since the original verdict on the death was suicide, but he assures her it is a cover-up, and that his life is in danger because he can identify those responsible. Reluctantly, Billie investigates and slowly begins to uncover the shadows of corruption that the case is shrouded in. Meanwhile, the crooked policeman, who was hired by a high-profile tycoon to commit the murder, must eliminate Alan since he is the only person who can connect him to the crime.

Released theatrically in 1996, THE INNOCENT SLEEP was an independent feature that, even at the time, seemed curiously out of step with other contemporary British pictures. Lacking the gritty realism, eclectic soundtrack and overt violence generally associated with modern London-based thrillers, the filmmakers instead hark back to the crime pictures of the 50s and 60s with picturesque visuals, grandiose music score and a restrained depiction of brutality. This approach is not only refreshing but also favorable to the overall execution, since it allows for the thoughtful screenplay to leisurely develop its quirky and flawed characters, while director Scott Mitchell is able to nurture excellent performances from his cast. Rupert Graves, using an acceptable Liverpudlian accent, delivers a likable performance as the desperate and confused Alan, but it is Annabella Sciorra who really excels as crusading journalist Billie Hayman. A fine actress who has demonstrated throughout her career to possess a strong and believable screen presence, she is the essential element that holds THE INNOCENT SLEEP together. Michael Gambon is suitably sinister and foul-mouthed as the corrupt detective, while Graham Crowden conveys a touching and sympathetic presence as a figure whose life has been destroyed by alcohol. Franco Nero contributes an extended cameo and his reserved yet calculating manner is invaluable to the picture, since he alone represents the personification of corporate evil.

Unfortunately, while there is much to enjoy about THE INNOCENT SLEEP, there are also some significant flaws which ultimately prove fatal to the picture succeeding as a whole. Considering the implications that its protagonist – as a homeless man – is deemed easily expendable in modern society, there could have been many social aspects to the screenplay which are not so much underdeveloped, but simply ignored. Likewise, the high-ranking corruption is never illustrated beyond a vague explanation as being simply that, and failure to put such activities into any political context finally renders its final denouncement rather hollow. Another underwhelming factor is that, despite menacing performances from Gambon and Nero, the film sorely lacks any genuine sense of suspense or tension. While the filmmakers admirably shy away from explicit violence, they fails to replace it even with the threat of suggestion, meaning that the film never convincingly conveys that the lead characters are ever in any real danger (IN DEFENSE OF THE REALM, another British thriller evolving through a journalist’s investigation into a suspicious death, was far more effective). Considering that the subject was inspired by a true incident – that of Roberto Calvi, ‘God’s Banker’, who was found hanging under Blackfriars Bridge in 1982 – perhaps some grit would have grounded the film in reality and therefore evoke a feeling of dread.