The Phantom of the Opera (2004) - 72 mistakes

Continuity: At the end when Meg steps out of the water, her pants are wet. However, when she enters the bedroom and finds the Phantom's mask, her pants are perfectly dry.

Visible crew/equipment: During The Music of the Night, you can see a camera shadow pass over the Phantom's and Christine's face. It's around the part where he says, 'Let your fantasies unwind'.

Continuity: When Buquet hangs over the scene, you can see Meg screaming along with three other dancers. Four shots later, Meg is still screaming, but the two girls who were to her right (on the left of the screen) are still dancing, as if they haven't seen Buquet yet.

Deliberate "mistake": As Christine approaches the Phantom in his lair (just after he has abducted her), we see that she is wearing very dark black eye-shadow. Back in the dressing room after coming off stage, as she talks to Raoul, we saw her face in close up and she was not wearing any eye-shadow at all, even though the Phantom leads her through the mirror just after she has managed to slip on a robe over her undergarments and she has not yet changed to go out to supper (Raoul says she is to be ready in 2 minutes). Her hair becomes 'bigger' and wilder, too. The change in her appearance is a reference to her descending (voluntarily, I might add - he didn't drag her through that mirror) into the Phantom's dark existence and to her sexual awakening.

Revealing: As the grating descends on Raoul, in two shots, large bubbles are flowing downwards. It's obvious, the film was reversed.

Audio problem: Right after Joseph Buquet is killed, Raoul runs and finds Christine. When she says, "Raoul, we're not safe here.", her lips do not move; her mouth is merely agape.

Factual error: Raoul is the Vicomte de Chagny and he gets called that throughout the movie, even during the auction (which shows he didn't change titles when his parents or his brother died, for example). Yet Christine's tombstone calls her a countess when it should have read viscountess–or, even better, vicomtesse.

Continuity: After being abducted during the Don Juan performance, Christine changes into the wedding gown and the Phantom places the veil on her head. The veil gets thrown aside by the time Raoul arrives. Between the time Christine leaves and the mob arrives, there is a shot of the mannequin with the veil perfectly positioned on the head (although it is highly unlikely that someone took time to put it back.) When Meg walks through the lair and retrieves the mask, yet another shot of the dummy shows that the veil has disappeared.

Revealing: During the second kiss, you can see behind Gerard Butler's neck (going from under his hair down to his back) the wire of the apparatus used to keep his lower right eyelid pulled down.

Continuity: In the last scene, Christine pulls the cover off one mirror. The coverings stay like this till the Phantom leaves, when both mirrors are uncovered.

Continuity: At the end of the music of the night scene, the Phantom lays Christine down on the bed and sings the line, "help me make the music of the night." While singing this, he moves his finger down Christine's jaw line, and his finger comes off her chin. Yet when the camera angle changes, he is just starting to move his finger down her jaw, starting up near the ear. He wouldn't have had time to move his finger back up that quickly.

Other: During the gypsy fair, when the young Phantom is hurriedly pulling the bag back over his head, you can see the actor's face from the side, through the bars of the cage. There is no deformity, even though the angle of the shot shows the top right of his face, where the mask is always worn later. Even moreso: his deformity is bumpy, and the side of his face is all baby smooth.

Continuity: As Christine and Raoul race up the stairs of the Opera House, her hair is loose. By the time they come out onto the rooftop, it's partially pulled back in an elaborate fashion. She's never off screen long enough to have done that.

Visible crew/equipment: As Raoul's car is leaving the Opera House, a crewmember is reflected in its windshield.

Continuity: As Carlotta is saying "I hope he is as excited by the dancing girls as your new managers", she holds her hand up with one finger in the air, but in the next shot, her hand is near her waist with no fingers protruding.

Factual error: The Phantom breaks all the mirrors at the very end and the way the glass shatters shows that it is coated glass, which wasn't invented until 44 years after the movie was set. The movie was set in 1870 and coated glass was invented in 1914.

Continuity: During the scene where Meg is looking for Christine backstage, we see her pass Firmin and Andre. Behind her Raoul approaches the managers and they turn to greet him. In the next shot they are turned round flirting with the chorus girls and Raoul is nowhere to be seen.

Other: In Think of Me,on the "Ah,ah,ah,ah,Ahhh's" you can see Emmy Rossum's gum on the left(her left)side of her mouth when they have a close up.

Continuity: When Christine takes off the Phantom's mask during Don Juan, the appearance of his face suddenly gets drastically CG enhanced. (This occurs AFTER Christine has already removed the mask, as the two screenshots show.)

Continuity: When Christine is taken to the Phantom's Lair the first time (at roughly 38 minutes into the film), as the Phantom sings, he leads her by the hand from the gondola to the "Christine" mannequin. On their way, near the pipe organ is a Roman-style bust of a man's head with a dark strip of cloth askew over its left eye. When the Phantom sings "Let your soul take you." and "Savor each sensation." the strip of cloth is wide (like a sweat band), but when he sings "Let the dream begin." a 10th of a second later, the cloth has become very narrow - thin, like a bow tie. It turns back into the sweat band version again after Christine's nap.