Best movie mistakes of 1952
Other mistake: In Gene Kelly's 'Singing in the Rain' sequence, the taps he makes do not match up with the actual movements of his feet - they are much more complicated than the steps he makes. Since one can't tap dance in wet loafers, Kelly had to do the dance in the studio, and the taps were added into the picture. He apparently got a little overzealous.
Other mistake: During the car chase an Indian shoots an arrow that bounces off the car's license plate and comes back and hits the Indian. But a second before the arrow hits the Indian you can see him sitting on his horse with his eyes closed and a look of pain on his face as though the arrow had already hit him.
Continuity mistake: In this scene we see a flight of Navy Corsair fighters leaving the deck of an aircraft carrier on a training run. While in the air a close up shot of the flight leader's cockpit reveals that the aircraft in the background have changed into Grumman Wildcat fighters. When they make their attack run it's back to Corsair fighters with no sign of the Wildcat fighters.
Continuity mistake: The pictures on the wall of Calvero's apartment move around during the scenes, particularly the photos flanking the clock on the mantle above the fireplace. A particularly striking example is during the scene wherein Terry recovers the ability to walk. The scene starts off with a photographic-profile-portrait of Chaplin (not decked out as Calvero the Clown) on the left side of the clock and on the right side of the clock, a full-length photo of Calvero the Clown wearing a straw hat, and leaning on his cane, which is held in his left hand. As the scene progresses, the portrait to the left of the clock is replaced by a half-length photo of Calvero the Clown wearing a top hat, with his cane swung across his body, angled up. As Terry realizes she can walk, the portrait re-appears to the left of the clock, and there is nothing to the right of the clock.
Add timeRichard Lannom
Revealing mistake: In the opening scene the Club's dancers are in full-swing, including the tall, lanky gentleman from Lautrec's famous Moulin Rouge poster, the one with the very angular, extended nose and chin. In several closeups it's very plain that the chin is a makeup appliance: the edge of the appliance isn't blended very well with the actor's real skin.