Its plot follows a young womanizer meeting another yet finally interesting girl, who all but forces herself into his apartment where they play the game of appearances, unable to confess their love to each other.

He drives him to the sports venue, where we learn that the still unnamed main protagonist is a doctor who qualifies young men for participation in boxing tournaments.

Throughout the night, Bazyli and Pelagia perform all sorts of platonic activities, such as chatting and playing games, finally falling asleep on separate beds.

[11] On May 5, 1959, a meeting of the Script Evaluation Committee was held, at which the artistic director of the KADR Film Studio – Tadeusz Konwicki, personally supported the project, convincing the deputy minister of culture and arts, who wasn't sure if he should consent the start of production.

[9] Aleksander Ścibor-Rylski also expressed his enthusiasm for the project, claiming that "young people need to watch this film because it shows the danger of the masking.

[12] In addition, he learned how to play a drum solo, which he actually performed during filming the jazz concert sequence, though it was ultimately overdubbed.

[9] Edmund was played by often referred to as "James Dean of Poland" – Zbigniew Cybulski, whom Wajda considered one of the best Polish actors of all time.

[14] Additionally, future internationally recognized filmmaker Roman Polanski starred as the leader of the jazz band, Dudek "Polo".

[11] Among the exact filming locations were Constitution Square, the backyard at 10 Chmielna Street, Old Town Market Place, and Warszawa Śródmieście railway station.

[2] At the final technical inspection and the pre-release screening of a film, the commission demanded the removal of the pessimistic ending, in which Andrzej and Magda parted forever.

The composer, already famous musician in Poland at that time, both took part in the recording of the soundtrack and played fictionalized version of himself in the film in a cameo role.

[18] Released soundtrack features tracks as follow: The most visible French New Wave influence on Innocent Sorcerers is the process of breaking the fourth wall used several times in Wajda's film.

[19] In his 1968 in-depth review and analysis for Études cinématographique, French film critic Jean-Louis Manceau agreed that Innocent Sorcerers' characters seem very self-aware of them being part of some kind of a "show" they play in.

[6] Additionally, when Łomnicki's character turns to the camera and begins a monologue about the sponsor of his and Magda's "contract," he credits it to "the spirit of our time," which can be read as a metaphor for the director of the film they are playing in.

[9] Stefan Morawski, in his review for the magazine Ekran, considered the film "socially useful, showing the bankruptcy of the life attitude represented here."

[9] The cultural impact on the audience was noticed by Jan Błoński, who wrote about it in his review for Życie Literackie: Andrzej Wajda's Innocent Sorcerers sparked an amusing polemic, which is probably worth devoting a few words to, because it is based entirely on misunderstanding.

[4] While Polish reviews drew attention to the controversial portrayal of young people, the film received a whole different reception abroad with the Telegraph calling it "cool, smart and brilliant."

Robert Vas of the British Sight and Sound stated that the director "shows his antiheroes as amiable, innocent, rebellious victims of a universal mood, suffused with the fallout of fear and nihilism.

"[9] Pierre Lefebur, in his review for the Belgian La Cité, appreciated the acting and staging, stating that Innocent Sorcerers are "more convincing, even more dazzling, than the chaotic sketches made by young French filmmakers.

[19] Ben Sachs of the Chicago Reader magazine stated: "The film serves as a fascinating document of Polish youth culture during the least repressive years of the communist era, as well as a rough draft for the freewheeling comedies Skolimowski would soon direct himself.

"[20] Jerzy Płażewski, reviewing Innocent Sorcerers years later wrote that "Wajda's effective direction gracefully oscillated between a subtle mockery of the characters and heartfelt sympathy for them.

"[11] More contemporary reviews of Innocent Sorcerers also note similarities between Wajda's film and Richard Linklater's Before Sunrise (1995), such as the two main characters being a young man and a woman who are just getting to know each other, wandering around the capital city in Central Europe and talking about morals and ideals, while falling in love with each other throughout one night.

In later years, the term "innocent sorcerers" began to be used to describe prematurely deceased Polish artists of the same generation as the characters depicted in Wajda's film.