Bridget Jones's Diary (2001) - 47 mistakes

Continuity: When Bridget is getting dressed for her big date with Daniel, her tights are over her undies; later, when he's going up her skirt, the tights are clearly under her big ugly undies.

Visible crew/equipment: When Bridget and Daniel are in the convertible going to the country for the weekend, her scarf flies off. If you look carefully in the wide shot, you can see a crew member's hand in the backseat pulling it off and then tossing the scarf to the back of the convertible to fly away.

Continuity: After Mark Darcy and Daniel Cleaver fight in the street and Bridget goes to comfort Cleaver, Mark Darcy flings his jacket over his shoulder as he walks off. You can see very clearly that the white lining of the sleeve, flapping around as he walks. When the camera cuts to his receding back, the jacket is perfectly flat and smooth down his back, and the lining is no where to be seen.

Continuity: Tom is changing the fascia of his mobile phone. When we first see him, he is holding the phone up to his shirt and the fascia is blue, he then puts the phone down near to Bridget. It then cuts back to Tom and the phone has moved nearer to Jude and the fascia is green. Tom then opens the box in front of him and hold the blue fascia up so it falls out of the plastic wrapping completely, just before a man comes up to ask him if 'he's the bloke who sang that song' he is getting the blue fascia out of the plastic wrapping again.

Continuity: When Shazzer talks about introducing people with thoughtful details, Jude taps off her cigarette ash. Seconds later, she's seen with at least half an inch of ash on her cigarette.

Factual error: After all the running about at the end in the snow, no one's breath seems to be condensing.

Revealing: When they're driving back to the Darcys' in the snow, you can see that as they pass through the village near the house, the snow on the ground is in fact a white ground sheet and has not been pulled up to the edges of the wall surrounding the green.

Other: When Bridget goes to chase after Mark when he leaves her flat to go and get another diary, she runs out only wearing a tank top and underwear. When she exits the door, she steps into the outside where it's snowing & she's barefoot & she immediately comes back inside to put on shoes. In the beginning part of the movie, we see that she lives in an apartment building where she actually has to ring the people inside & that her door is actually upstairs where she wouldn't step "outside" immediately exiting her flat.

Continuity: After Bridget has given the appalling introduction to Mr. Fitzherbet, he comes on stage with the author. Mr. Fitzherbet says "I'll just switch this on" and turns the microphone on, but his voice is being transmitted over the mike before he flicks the switch

Continuity: When Bridget is searching in the fridge for tuna, she wipes her face, and really big smears of her cooking spread across her cheeks. Then when she goes to answer the phone, the smears are practically gone.

Continuity: When Bridget and Mark prepare the blue soup, Mark stirs the soup with his right hand. In the close-up you can see a left thumb holding the spoon.

Factual error: When Bridget is walking to work (this occurs twice in the film, where I noticed the mistake) she goes through Piccadilly Circus.  The next frames show her crossing Tower Bridge, as if it was just over the road. As anyone familiar with London will know, this could take the better part of an hour to walk this far.

Continuity: Mark Darcy is in Bridget's flat and he notices the diary under a folded newspaper and some magazines. In this front shot, he puts the magazines down next to the newspaper and pulls the diary out from under the newspaper. In the next close-up looking down at the table when he holds the diary, the folded newspaper is no longer there. When Bridget walks into the room after Mark leaves, in this front shot of the table, the newspaper is under the diary that Mark had put down. When Bridget comes back from the window, in the close-up looking down at the table, once again the newspaper is not under the diary.

Continuity: When Bridget is making her resolutions, she says, 'Put last night's knickers in the laundry basket.' But if you read her diary as she's writing in it, she doesn't mention this resolution, it says 'Lose 30 pounds,' then goes on to the third resolution.

Continuity: After Bridget has chased Mark Darcy in the snow, when the scene initially focuses on Bridget, she has some large concrete barriers behind her, they suddenly disappear from the scene after awhile, just before the big kiss.

Continuity: When Bridget and Daniel have gone back to his apartment and they are kissing on the floor and he discovers her enormous panties, she is trying to keep him from checking them out again. In one shot the strap of her dress is up over her shoulder, then it's down off her shoulder, then back up again.

Continuity: When Bridget is quitting her job and Daniel is trying to convince her to stay, you can see a woman behind him, hanging at the door of his office. She's already half inside, but there was no other person in Daniel's office apart from him and Bridget, and she wasn't seen coming into the office.

Continuity: In the shot where Bridget goes to see her mom when the mother is selling the egg separator, her sweatshirt strings are crossed, when the shot cuts to her again they are crossed the other way. After the demonstration, when she is talking with her mother, they are back the same way again.

Audio problem: When the men are fighting in the street, Bridget and her friends are talking about who to root for, and Bridget's mouth doesn't match what she is saying at all.

Factual error: Bridget gets a screen notice ('One new email message') from MSN Hotmail. Hotmail does not give screen notices except for notices through MSN Messenger (which is not what Bridget gets).

Continuity: At the tarts and vicars party, Bridget and Mark almost start arguing about Daniel and 'Mark's past behaviour'. Look at Bridget's hair between when she says 'I think he would say the same about you given your past behaviour' and when Natasha calls Mark over - Bridget's fringe changes shape in the three different shots.

Continuity: At the Darcy's party, near the end of the movie, Bridget's hair changes constantly: smooth to slightly mussed, barrette visible then covered with hair, and the location of her part shifting a bit.

Continuity: When Bridget is at the "tarts and vicars" party, her "uncle" Geoffrey pinches her bunny tail for the second time - when he bends over to pinch it he has a straw (or maybe a cigarette?) in his mouth. Just as he does this, Bridget's mother comes along and slaps his hand, he pulls up and there is nothing in his mouth.

Continuity: When Bridget's boss at the TV show tells her he wants her to cover the Kafir/Heeney case (the freedom fighter), Bridget is playing with her pen over her right shoulder. The shot then shows her boss is talking to her, but neither her hand nor pen are up - in the next angle of her, she is still waving her pen up by her right shoulder.

Continuity: While her friends are waiting in the car for Bridget, wanting to take her to Paris, she is standing in front of her flat as Mark walks over. When they talk, the folds in the scarf around her neck very noticeably change in some of the close-up shots of her.

Continuity: When Bridget, Daniel and the other guy are in the lift at the start, Bridget is in the centre of the lift. The other guy gets out and Mr. Fitzherbert replaces him. Then Daniel gropes Bridgets bum and we see them all get out - Bridget is suddenly in the corner, but the whole time she never moved.

Revealing: In the first scene when Bridget makes her way up her parent's driveway, you can see her shadow against the cobbled post. However, the sun isn't out and it's cloudy, cold weather overhead.

Factual error: One that only Londoners would notice or care about, but anyway: Bridget's flat is supposed to be in the trendy bit of Southwark, near Borough Market, i.e. south of the river. Right at the end, when she pursues Mark Darcy, the shop where she catches up with him is clearly in the City of London (the very distinctive Corporation of London bollards are all around, and the shop itself is on Threadneedle St, I think) - meaning that he's walked and she's run right across Southwark Bridge and up King William St in about thirty seconds...

Continuity: When Bridget is writing in her diary about the kind of man she must not go for, she is writing on the left page. When the voice over says "And especially must not fantasize about particular person who embodies all these things" there is a close up and she's writing on the right page. Seeing as her diary has a page per entry, not really probable that this would happen.

Continuity: When Mark and Daniel are having their big fight, Mark punches Daniel really hard, causing him to fall to the ground. In the shot of the punch Daniel falls face down towards the ground, however in the next shot he lands flat on his back. It would've been impossible for him to have turned around-especially being knocked out.

Factual error: When Darcy leaves England and goes to New York City. He steps out of the terminal and a big banner reads Welcome to New York. Then he stops by a speed limit sign that said 15 miles per hour. Problem....that sign is red with white letters. The U.S. speed limit signs are not that color. Therefore, that airport was NOT in New York and they were saving money on production. I guess the banner helped.

Visible crew/equipment: During the scene when Bridget and Cleaver are talking about Lara in his office you can see the film crew moving about in the reflection of the glass walls (and presumably the director sitting in a chair). This cannot be office workers as his office is raised from ground level.

Continuity: When Bridget and her parents are driving to the Darcys' house, you can see that the road already has fresh tyre tracks on it. But once Bridget and her dad switch places, the road ahead hasn't got any tyre tracks.

Continuity: When Bridget has been invited to the dinner party (the one with all the couples) she has a drink - to start with it is two thirds full, next shot half full - she hasn't drunk any because she is talking next scene and it's two thirds full again.

Deliberate "mistake": When Mark is catching a cab outside "JFK" airport, the cars are driving on the left hand side of the road - if they were in America they would be going the wrong way (the director points out in the commentary that this shot was filmed in London to save money).

Other: When Bridget's friends come over to her home they always need to call up first. She then can buzz them in by pressing a button that unlocks the building's main door. Yet when Bridget first runs from her flat after Mark with just her bare feet you can hear her feet crunching on snow. She then runs back inside to put on her shoes and a sweater. If she really needed to buzz her friends in then there should have been a hallway where she ran first and not the outside directly. [As an addition: when Mark comes to Bridget's door to show her the newspaper article, as he says ...'I may have come at a bad time...' you can see a hallway behind him. When she runs outside at the end of the movie there is, for some reason, a different set outside her doorway. For example, when Bridget opens the door to run after Mark, it looks like she is running into bright sunlight - lighting way too bright for hallway illumination and especially out of sync with the evening sky.]

Other: The last name in the credits from the cast is called Melinda, when in actual fact, the character in the film is called Melanie.

Continuity: When Mark returns from the States, as he begins to kiss Bridget for the first time, from the camera shot behind him, his head is angled to the right. From the shot behind Bridget, it is angled to the left.

Factual error: After Bridget arrives back in London from a visit to her parents, the camera pans away to reveal the train on which she is supposed to have travelled. You can tell from its distinctive yellow and white exterior that it's a Connex train, but these only run on the suburban commuter routes through south London to East Sussex, Surrey and Kent - nowhere near Mr and Mrs Jones's Cotswold home. Rail services from the Cotswolds are operated by First Great Western (grey high speed trains) and Thames Trains (navy blue exteriors) and terminate at Paddington in west London.

Continuity: After Bridget and Daniel Cleaver go out for a meal, they hail a cab outside the restaurant. The road is Shad Thames and is locked by gates at every exit every night and pedestrianised, so a) How did they hail a cab from a locked road? and b) Where could it take them to?

Continuity: When Bridget writes her diary on 1st January, we see the fridge in the background at floor level, alongside other kitchen units. But later, just after Daniel has announced his engagement to Lara, Bridget opens the fridge to "eat the entire contents" - the fridge is now on the sideboard, with no units beside it, also its decorations are different. Later when Bridget is cooking, she opens the fridge and looks in - she is crouching in front of it, as if it is at floor level again.

Continuity: When her mother comes back home, the camera switches between a view of her Mum where you can see the back of her Dad's head, and the reverse shot. When she's saying "you must pay more attention to me", after she says "me" her mouth is open when you see the back of her head, but after it switches and we see her from the front, her mouth's shut.

Continuity: There are two types of string used in the blue soup scene - plasticky type that florists sometimes use for the blue stuff, then ordinary string for when the dye has come out.

Other: When Bridget and Mark kiss at the end, he puts his coat round her. The coat is huge! It's obviously specially made because before it wasn't as big as that.

Continuity: After Bridget sprays the contents of the blender all over herself, there's a splodge on her right cheek - it changes shape when she answers the door.

Other: When the two gents are fighting in the restaurant Hugh Grant tackles the guy through the plate glass window and they land on the street. Two points: 1) How do they not receive any cuts from landing on shattered plate glass. 2) Check out the glass laying on the street. It is cloudy, a main characteristic of breakaway stunt glass.

Continuity: Towards the end when Mark Darcy finds her diary, you clearly see the number 29 as he pulls it from under the magazines, then when you see the diary it's open on pages 10 and 11.