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At the end of the opening credits, just after "Screenplay by David Mamet" and before "directed by Ridley Scott", look at the right hand side of the screen - you can see Hannibal's face drawn by pigeons. See more...

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Movie Mistakes blog

Hannibal (2001) - 55 mistakes

Directed by Ridley Scott, starring Anthony Hopkins, Gary Oldman, Julianne Moore, Ray Liotta (add more)

Genres: Crime, Thriller

Mistakes

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Factual error: Clarice shoots the guys in the barn, then handcuffs the fat one, but as she is walking away his arms are spread too far apart to be cuffed. When the pigs come in, we see him dragging his buddy using only one arm with the other at his side, again impossible when cuffed.

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Revealing: When we see the FBI agent running through the woods, if you look at the ground you can see track marks. They are consistently the same distance apart and starts once it goes to the angle from the front. Clearly marks from the tracking camera.

Edit Submitted by Starchild

Correction Edit text Change type Duplicate Add time Add picture Minor X

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Deliberate "mistake": In Silence of the Lambs Starling was right-handed. In Hannibal she is left handed because we see her writing with her left. Julianne Moore, the new actress who plays Starling is left handed whereas Jodie Foster was obviously right-handed.

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Continuity: The letter to Clarice is folded twice when she opens it, yet Hannibal is shown folding it once. (It was not a second fold because we see two edges touch, not a fold and one edge.)

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Continuity: When the hogs are attacking the dummy in Sardinia, the dummy's head changes from being orange-colored and very fake looking, to realistically fleshy and brown in the close up.

Edit Submitted by BillyBlake Time

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Continuity: During the brains-for-dinner scene, Clarice sneaks her knife under the table to use against Lecter. A few lines of dialogue and camera angles later, the knife is back on the table, and Clarice sneaks it under the table - again.

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Continuity: The third perfume expert grabs Hannibal's letter with a pair of tweezers on its bottom right corner. In the next shot, he's holding the letter on the top edge.

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Continuity: In the scene where Hannibal picks up a meat cleaver to chop off the handcuffs attaching him to Starling; in one shot it is covered with chopped herbs, in the next it is clean.

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Continuity: On the letter, the P.S. read by Hannibal ends with, "So I'm not sure how well I should wish you, but I'm sure we'll have a lot of fun. Ta ta H." But when Krendler looks at the letter on the board, the P.S. ends with, "I'm not sure how well to wish you. Ta ta H."

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Continuity: When Inspector Pazzi introduces 'Dr. Fell' to his wife, in a wider shot she has her hand on her husband's shoulder, just sliding off as the shot cuts. In the closer shot we cut to, however, her hand's back on his shoulder.

Edit Submitted by Jon Sandys Time

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Continuity: When Clarice is listening to the tapes from her conversation with Lecter from the first film, Lecter says "You don't have any more vacations to sell to Anthrax Island". But in the original conversation in Silence of the Lambs, Lecter only says "You don't have any more vacations to sell". He never said "...to Anthrax Island". This is arguably a double mistake, as it's part of the conversation that could never have been recorded in the first place anyway.

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Continuity: While Clarice stares at Hannibal's letter, we can hear Hannibal reading it aloud. He says, "Your father, the dead night watchman, figures largely in your value system." Yet on the paper it's, "figures large in your value system."

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Continuity: In the beginning when Clarice and co. are in the van, there is a shot of Clarice sleeping on her back. The next shot shows her sleeping on her side in a foetal position, and then it shifts back to her sleeping on her back when she opens her eyes.

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Continuity: In the scene where Clarice wakes up in Krendler's house heavily drugged, she looks at her things on the chest outside of the room. Her denim jacket is there. However, we see her take this off and leave it in her car when she decides to go in to the Verger barn.

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Revealing: At the end of the telephone conversation between Krendler and Verger we see Krendler with his mobile phone, and through Krendler's phone we hear Verger hanging up. The sound we hear is unequivocally that of a receiver being hung up on a desktop telephone, but in all of the shots portraying Verger in this sequence we see him using a mobile phone. With mobile phones a conversation is ended simply by pressing a button—-there is nothing to hang up.

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