A young doctor is tired of being sought by women. One night he meets a young girl who all but forces herself into his room where they talk of morals and love. But he loses her when he goes ...
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Two sketches covering episodes from the World War II. In the first novel, "Scherzo alla polacca", a shrewd son, trying to preserve his skin, ultimately becomes a hero and finds a reason for... See full summary »
A man hops off a train by the small town where he claims he was before. His presence allows to bring out the inner feelings and beliefs of the inhabitants. A man who has hidden through all ... See full summary »
The story is an odyssey of a little man through Poland of 1930 to 1950. It shows his attempts to cope with a changing world which seems to have no place for him. He has no consciousness of ... See full summary »
At the turn of the century, Lodz, Poland was a quick-paced manufacturing center for textiles, replete with cutthroat industrialists and unsafe working conditions. Three young friends, a ... See full summary »
Poland, during the World War. Lotna is a magnificent specimen of Arabian horse, the pride of her owner, too old to actually ride her but to whom she remains faithful nevertheless. The ... See full summary »
During the German occupation noble, bourgeois and worker's partisan groups lived in peace with another. On the first day of freedom they start to fight each other. In these fights is weaved a most tender love story.
In 1976, a young woman in Krakow is making her diploma film, looking behind the scenes at the life of a 1950s bricklayer, Birkut, who was briefly a proletariat hero, at how that heroism was... See full summary »
A young doctor is tired of being sought by women. One night he meets a young girl who all but forces herself into his room where they talk of morals and love. But he loses her when he goes out to see some friends and then rushes madly around the city after her Written by
Polish Cinema Database <http://info.fuw.edu.pl/Filmy/>
The movie was criticized by Polish communist government (along with Roman Polanski's _Knife in the Water (1962)_) for being antisocial and for giving Polish youths bad role models. Even the scene when the lead character turns on the radio with his toe was criticized as it was said to have taught young people not to respect new technological achievements. See more »
Niewinni Czarodzieje (Innocent Sorcerers), a movie made in 1960, gathering some of the greatest names of Polish cinema: director was Andrzej Wajda; Jerzy Andrzejewski (the author of Ashes and Diamonds, the novel on which the homonym film was based) created here the screenplay, together with Jerzy Skolimowski (who also had a cameo); the music was composed by Krzysztof Komeda (who also scored some of the first movies of Polanski); you will recognize in the cast Zbigniew Cybulski and Roman Polanski; the lead characters were played by Tadeusz Lomnicki and Krystyna Stypulkowska. It's a feast to see them all, time will go and each one will follow a different path, here they are together, in their young years, these legends of the film universe.
I saw the movie for the first time by the end of the sixties. I was very young, and I liked Polish movies very much. This one took me totally by surprise, as I was expecting something different. I realized it was a movie with heroes of my generation, people in their twenties (now we are the baby-boomers of late sixties). However, the plot came to me as a non-issue. I was a fan of Polish movies, and I loved the films of Wajda and Kawalerowicz. This one was not that kind. And it was directed by Wajda! Actually this movie is stamped Skolimowski! The director was indeed Wajda, but he played faithfully the hand of his scriptwriter. Michael Open (who reviewed the movie for IMDb) says it bluntly: the creative force is here Skolimowski, not Wajda. Innocent Sorcerers is hundred percent New Wave, and by that time I wasn't familiarized at all with this current.
It looks quirky and it looks cynical, because that's the way New Wave looks like. Quirky because it throws away some respected cinematic conventions (and not only cinematic), and cynical, because it doesn't believe in the system, be it political system, be it any other blah-blah system.
I watched again Innocent Sorcerers recently, on youTube. Years have passed and I saw many great movies of the New Wave. This time I understood it, and I had a feeling of nostalgia, just because of that. A movie made when my generation was in the twenties, with heroes of that age, with mentalities of that age, speaking to the person I was at that age, no more to the person I am now.
So the movie made me a bit nostalgic. In the same time, I was charmed. I had been hundred percent wrong when watching it first time. It's far from being a non-issue. This film is perfect, and watching it brings something like organic satisfaction: such an artwork comes as naturally as air or water.
Maybe the title was translated in Romanian more appropriately than it was in English: Inocentii fermecatori, it could mean Innocent Charmers, also Charming Innocents. Charmers is more fit than Sorcerers: this movie is superbly ambiguous beginning with its title. It also is ambiguous beginning with the beginning: the very first scene shows a woman passing the street and leaving behind huge posters of this movie! So, is Niewinni Czarodzieje (Innocent Sorcerers, or Innocent Charmers, whatever) a movie about itself? For Krystyna Stypulkowska, the female lead, it was her first movie. She would play only in two more films. I looked for further information, without success. Well, she played here amazingly, the perfect charmer who never let you tell what's behind the charm, the good and the evil, who never let you know where she came from and where will she go.
The title of the movie comes from a masterpiece of Polish literature: Dziady (Forefathers'Eve), the poetic drama created by Adam Mickiewicz. It's a line in the first part of Dziady that names the niewinni młodzi czarodzieje (innocent young charmers) who własne swe nadzieje (poison their own hopes).
Dziady has four parts, very loosely related, each one created by Mickiewicz in a different period of life. The first part follows the sentimental tribulations of a young couple, confused about the path to take in their relationship: the innocent charmers who burn their own hopes. But it's not only the first part: love comes as an important theme in the whole poem. Dziady is about Polish ethos, both individual and collective. Giving and returning love is viewed by Mickiewicz as essential for the salvation of that ethos: individual and national. While keeping on the innocent charm level will poison hope and ultimately life: personal life and national life.
Coming back to the movie, there is a scene by the end in which the main hero asks someone on the street what is over Faith and Hope. Love, comes the answer. It's a quote from I Corinthians 13, and it gives us the clue: this movie is a replica to the first part of Dziady, played in our epoch. The innocent young charmers must recognize and assume their love, to not burn hope.
The movie was made in 1960. In 1968 Dziady will come once again in the picture: a representation of the poem will be forbidden, which will bring the Polish students on the streets, against the Communist regime.
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