Best thriller movie mistakes of 1963

Visible crew/equipment: As Melanie drives up to have dinner at Mitch's the reflection of the cameraman on the inside of the window can be seen moving in the upper left hand portion of the screen.

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Continuity mistake: The train is stopped because Spectre has pushed a 1950's style Dodge truck full of flowers in the trains path. Later, when James is driving it trying to avoid the grenades dropped from a helicopter, the truck has turned into a very different looking 1961 Chevrolet truck.

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Factual error: A convoy of open trucks arrive at the camp bringing the latest batch of prisoners, many of whom are carrying rucksacks and tote bags of clothing and other possessions. Where did they come from? Combat servicemen in World War Two did not carry overnight bags with them - a change of clothes or a handy supply of toiletries was the least of their concerns. A prisoner of war arrived in the camp with the clothes he stood up in and nothing else.

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Factual error: Take a look at the size of the rock that the boys push onto Piggy. A rock of that size, falling from that height would've exploded Piggy's head like a ripe melon. It also would've crushed his body into a mangled heap.

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Continuity mistake: Paul Newman and the Count are in the car heading to the rehearsals. When they are about to arrive, the background behind the Count shows a pier, but when the angle changes the background behind Newman shows the car surrounded by buildings.

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Sacha

Continuity mistake: When James Coburn is about to leave the phone booth where he's been lighting matches, the number of matches he leaves on the top of the phone changes between shots.

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Sacha

Continuity mistake: When Theo and Eleanor decide to explore the house, before the arrival of Luke and Dr Markway, they are in one of the dark corridors of the house. When Eleanor speaks the leaves of a plant shake, close to her right shoulder, but Eleanor is standing perfectly still, touching the right hand side of her chin with her right hand. Eleanor then hears a gasp, and we hear her thinking. In the next shot of Theo, Eleanor, now in the background, has moved a meter or two away from the plant, she is more to the centre of the archway. The next shot shows Eleanor standing next to the plant again.

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