Continuity mistake: 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. (01:12:20)
Continuity mistake: 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. (00:10:50)Kara
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 mistake: 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. (01:27:30)Super Grover
Continuity mistake: 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.
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 mistake: 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. (00:26:15)
Continuity mistake: 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 mistake: 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. (00:39:30)
Continuity mistake: 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.
Continuity mistake: 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. (00:49:50)
Mark Darcy: I don't think you're an idiot at all. I mean, there are elements of the ridiculous about you. Your mother's pretty interesting. And you really are an appallingly bad public speaker. And, um, you tend to let whatever's in your head come out of your mouth without much consideration of the consequences... But the thing is, um, what I'm trying to say, very inarticulately, is that, um, in fact, perhaps despite appearances, I like you, very much. Just as you are.
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