The Phantom of the Opera

Corrected entry: During Don Juan, when the Phantom and Christine go up the scaffolding during the song "Point of No Return," round bolts are seen in the wood. It should have square nails holding it together because there were no round bolts in 1870.

Correction: The "History of the Nut and Bolt Industry in America" by W.R. Wilbur in 1905 acknowledges that the first machine for making bolts and screws was made by Besson in France in 1568. - From

Corrected entry: When Raoul leaves Christine's dressing room after her performance in 'Hannibal', the phantom locks her door. But then later, when Meg comes look for her, she opens the door without difficulty.


Correction: When Meg goes to Christine's dressing room you can see she had a key to unlock the door. She places them on a table before heading to the mirror.

Corrected entry: On the opera house's rooftop, Christine, sick with worry and fear, decides to run away with Raoul right after the performance so that he can hide and protect her from the Phantom, and tells him to prepare his horses so they can leave right away. Then nothing happens. We're brought three months forward to the masquerade and no mention is ever made again of what happened to change their minds and why they did not run away. If she is scared enough to want to run away right away, not even waiting until the next day to pack her things, there is no way that she'll feel comfortable and safe enough to come back within a mere three months. While in the stage show, that was due to the hubbub surrounding the chandelier crashing, that event was pushed back later in the movie, leaving a gaping hole in the plot.


Correction: Nothing suggests that they didn't run away and then return three months later. There could be any number of reasons; Raoul doesn't believe in the Phantom at this point so perhaps he was able to persuade Christine to come back with him. Maybe Christine felt safer once she and Raoul were engaged. No one at the opera has heard from the Phantom for some time so they asked Christine to attend the Masquerade. Audiences would be anxious to hear Christine perform again so maybe that would be enough of a draw to prompt her to return.

Corrected entry: 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.

Correction: Silvered-glass coated mirrors were invented by German chemist Justus von Liebig in 1835; by 1870 the manufacturing process was automated and these mirrors were in common use.


Corrected entry: When the Phantom threatens to hang Raoul, after he says "You try my patience. Make your choice." and chokes Raoul once again, Raoul doesn't have a rope around his neck, he just acts the part.


Correction: Raoul does have the rope around his neck, the noose's knot is just behind his head.

Corrected entry: 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.

Correction: Sorry, but all the rumors of Emmy Rossum having gum in her mouth during filming are just absurd. A picture of the shot in question is needed for this mistake to be legitimate.

Corrected entry: When Carlotta starts to sing "Think Of Me" she lifts her chin when singing the high note at "you'll". Classical singers are taught from the very beginning of their education that the chin is to be dropped, not lifted, when singing high notes.

Correction: Carlotta is the sort of woman who does things her way, even if it isn't the proper way to do it. It's not really a mistake; it's just Carlotta being Carlotta.

Corrected entry: After Phantom has killed Buquet, Christine and Raoul run several floors up to the roof of the opera house. They are both singing, and Christine is wearing corsets, but when they get to the roof, neither of them is out of breath.

Correction: So she is in really good shape.

shortdanzr Premium member

Corrected entry: When the Phantom sings, "So do you end your days with me, or do you send him to his grave," his teeth are clenched as he sings "me" which is not possible.

Correction: Rubbish. I just did it several times with no problem (and no formal training as a singer).


Corrected entry: In Masquerade, the "gold people" are near the top of the stairs. They are not supposed to move, and if they were to, it would be noticable. But when the Phantom comes up, they are now moved to the bottom of the staris.

Correction: Yes, the "gold people" are situated at the top of the stairs during the beginning of the Masquerade, but the last time we see them at the top is at the end of the part where Andre, Firmin, Carlotta, Piangi, Meg, and Madame Giry are singing, right after we switch to Christine and Raoul who are noticably not in the main room where the "gold people" are, and we watch them for about 30 seconds. That is enough time for the "gold people" to have moved down to the bottom of the stairs. And you will notice that when Christine and Raoul begin to dance that the "gold people" are down there and that is long before the Phantom appears.

Corrected entry: In the scene where the Phantom sings "stranger than you dreamt it", the shot right before it shows the mannequin of Christine, the Phantom says "oh Christine" but his lips are saying something else.


Correction: His lips are saying "Oh Christine" just as they're supposed to. It might appear to look different at a glance because his lips move drastically to pronounce the letter "s" in "Christine"(due to intense emotion his speaking is slightly stressed) and his chin moves down when transitioning from the letter "s" to the "tine" part, making it seem as though he has mouthed too many syllables for that one phrase. But when you watch it several times you can see that he is saying "Oh Christine."

Corrected entry: In the graveyard scene Christine enters with her hair covered with a shawl. In the next shot the shawl is over her shoulders.

Correction: In between the two shots (Christine walking between two rows of statues, and when she starts to sing), there are several seconds when she is not in sight, while the camera is on a hooded statue. There was plenty of time for her to push her shawl back.


Corrected entry: If Gustav Daaé died leaving his daughter in utter poverty, why is he buried in the largest mausoleum (which, presumably, cost the most) in the cemetery? It can't be a family mausoleum, since he's Swedish, not French, and the only reason Christine remained in France is because he died.


Correction: No-one in the movie says anything about "utter poverty", that's an assumption. Christine might have inherited some money from him, and besides, at the time most succesful artists had patrons in the form of admirers. One of these might have been a big enough admirer of Daaé to have paid for a grand mausoleum, as a tribute.


Corrected entry: During the rooftop scene, Christine is clad in a flimsy, sleeveless dress, barely covered by a shawl, yet she doesn't seem to be cold at all.

Correction: She is wearing a floor-length cloak, and the fact that she ran to the roof would have given her enough adrenaline to keep warm. Not to mention the tension/ apprehension of all that occurs on the roof

Corrected entry: In the Don Juan opera, just after Carlotta's solo, she and the chorus sing their final chord as they point into the audience. The camera moves across towards centre stage. Minnie Driver, obviously thinking she is out of shot stops singing, laughs and jokingly fights for position with the man standing next to her.

Correction: Minnie Driver doesn't get out of character at all, and doesn't laugh. This is Carlotta being Carlotta, bossing people around, scowling at and pushing the man, trying to upstage everyone and take up the spotlight in spite of having lost the main role in Don Juan to Christine. This bit you mention is very reminiscent of "Prima Donna," where she swats people around her.


Corrected entry: The chandelier is gaslight. When it breaks off and falls from the ceiling, the gas should have been disconnected. Instead of burning brightly all the way to the floor and starting a fire, it should have gone out and plunged the theatre into darkness. This is what happened in the real Paris Opera house, in the original book, and on the Broadway version. Only in the movie is the chandelier capable of starting a fire after being disconnected.

Correction: Nowhere in the movie does it say (or show) that it's a gaslight chandelier (only the stage lights are shown to be gas-powered). In fact, it very much looks like candlelight all over. A candlelight chandelier would act just as it did in the movie, setting everything on fire.


Corrected entry: Throughout the movie, especially when the Phantom sing to Christine on the way to his lair, synthesizers and electric guitars are used. These were not yet invented.

Correction: This is part of the movie score and it's definitely not intended to convey that these instruments are somehow being played nearby.

wizard_of_gore Premium member

Corrected entry: When Raoul falls through the trapdoor his hair is down, also when he is in the water. However when we see him climbing out of the water his hair is tied back. There is no way he would have tied it back whilst underwater trying not to drown.

Correction: Raoul's hair is not tied back; it is wet and plastered to his head.


Corrected entry: When Meg Giry enters the Phantom's Lair and wades through the water to step up to the grotto, we see the mirrors that the Phantom just smashed with the candlestick intact.

Correction: You are mistaken, they are still smashed.


Corrected entry: In the "Masquerade" scene, there is an up close shot of a female dancer who is lined up on the stairs and is dressed in black, wearing a black mask, and holding a fan. The shot lasts for a couple of seconds, but if looked at closely the girl is Emmy Rossum. In this shot, Rossum looks to her left, covers her face with her fan, looks to her right, covers her face with her fan, then looks directly into the camera. You can recognize Rossum by her distinctive mouth.

Correction: Seeing as everyone in this scene is wearing a mask and you base this entirely on the person's mouth, there is no possible way to say who the woman is.

Corrected entry: In the scene of the Phantom and Christine falling from the bridge into the pit of 'fire', you can see that they are changing positions during the falling.

Correction: No, they don't. The camera changes positions, not them.

Corrected entry: Madame Giry's accent is the only one that is truly accurate. Christine, despite being of Swedish decent and raised by a French woman in a French opera house, is American. Meg, who also is raised in France by a French woman, is Welsh. Raoul, Vicomte de Changy, obviously a Frenchman, is also American. And The Phantom is shown to have been raised in the French opera house as well, yet he is perfectly British. Gerard Butler is Scottish, yet has a flawless British accent in the film, so why is it that his is the only accent that was tampered with?

Correction: Accents are not a mistake, and this submission itself contains mistakes and even contradicts itself. Madame Giry does NOT have a correct accent. Gerard Butler does NOT have a flawless British accent (rrrraging fahhhhrrrrr, anyone?). The movie is not in French, so there is no point for the characters to have a French accent. Their English is supposed to be French, so their English accents represent their French accents, since most characters come from various parts of the country and have different levels of education.


Corrected entry: At the end of the song, "Think of me," when there is a close-up of Christine singing, bubble gum is seen in her mouth.

Correction: Utter drivel. At all times Christine's mouth is completely empty. A screenshot is needed to verify this mistake.

Chimera Premium member

Corrected entry: When the Phantom strangles Joseph Buquet he is face down, but mere seconds later he's face up, much too quickly to have been turned over.


Correction: Buquet is attacked from behind – the natural reflex will be to roll over to try to defend himself, which doesn't take long to do and isn't hard. The shot of the Phantom between the two of Buquet gave him enough time to do that.


Corrected entry: During the scene after Christine removes the mask from the Phantom for the first time, he is not wearing gloves as he rips the cover off the mirror; seconds later, he knocks over a candle, and is wearing a black glove on his left hand; yet when he starts to sing "Stranger than you dreamt it" a few seconds later, the glove is gone again.


Correction: This is incorrect. The Phantom is gloveless throughout the entire scene. If one looks very closely, what is being mistaken as the glove is the Phantom's cuff flying up as he strikes the candle down, but a second later his fingers are visible beneath the cuff once again.


Corrected entry: Throughout the film, when almost any character, particularly Christine, is sustaining a long note, their mouth positioning starts to shift. This makes it very obvious that the characters are lip-synching to their own voices, as moving their mouths would have distorted the sound and quality of the note.

Correction: I, among others, am able to move my mouth while sustaining a long note. It's very easy to do. Obviously the characters in the film can, too.

Corrected entry: During the conclusion of the "Don Juan" scene, when Christine pulls off the Phantom's mask and wig to reveal his true deformity, such a sight terribly frightens everyone in the audience so badly that even Monsieur Reyer, the orchestra director, has put aside the baton and raised a handkerchief to lips, trembling in shock. However, only seconds later, when the camera pulls away, we see him again for a brief moment, calmly directing a 4/4 beat over the orchestra. Quite unusual recovery time, especially given his age and the present scenario.

Correction: The time lapse between Monsieur Reyer trembling in shock and again conducting the orchestra is 7 seconds. Monsieur Reyer is a consummate professional and would attempt to resume order by continuing to do his job. He later becomes shocked and trembles in a second and separate incident when the Phantom and Christine plunge beneath the stage.

Corrected entry: During the final part of "The Phantom of the Opera" (when Christine is singing her high notes) and during the beginning of "The Music of the Night", there is a brilliant white reflection of light on the water. Visible mostly through the grated entryway during the shots of Christine, the light in question has a distinct similarity to sunlight (or light from a set), too golden and bright in color to be moonlight, and far too bright to be a gaslight. It's implied before that Christine is taken down to the Phantom's lair at night, making sunlight inappropriate for the time in question. A few scenes later, when Christine is awoken by the musical box, the "sunlight" is located in the same place. Over the course of at the very least a few hours, the light would have moved.

Correction: The light is either coming from many many candles or several gaslights. It's entirely possible that his lair is situated right below the dancing girls' room(s) and the light from there is shining down in the first part. Once she wakes up, several hours have passed and it's morning, so the sun would be entering their room and filtering into the lair.

Corrected entry: When Andre meets up with Firmin during Masquerade and gets his picture taken, he is wearing a rooster headdress, but during the dance sequence as he's seen on and around the stairs, it's gone. We can see that better when The Phantom sticks the sword in his face.

Correction: A lot of time passes between these shots. He had plenty of time to take it off. Who knows, he probably thought it was heavy or itchy.


Corrected entry: When Christine is approaching her father's grave, to the right of the screen, a jacket is visible lying on a grave, and disappears in some shots.

Correction: There is no jacket. It's the draping of the statue.


Corrected entry: During the rose crushing scene on the rooftop, just before The Phantom runs for the statue, when he drops the rest of the rose and stem, a glove falls to the ground as well. But when he's up on the statue screaming to the heavens, The Phantom is wearing gloves again on both hands.

Correction: No glove falls. Only the rose and its ribbon.


Corrected entry: As Christine and the Phantom first enter the lair in the boat, when we get the first sweeping look at the living quarters of the lair, we can see the alcove which contains the Christine mannequin, which will cause Christine to faint in a few minutes. You can see that it is totally bare.


Correction: The mannequin is seen in the alcove, and it is dressed. Whatever that 'bare' is applied to (mannequin or alcove), the mistake isn't right.


Corrected entry: In "Don Juan", when they zoom in on the cello player, the cello has no strings.

Correction: There is only one shot where the cello is seen (around 1:46:10) and it definitely does have strings.


Corrected entry: The Phantom's masks are held on with elastic. However, elastic didn't exist in the 19th century, when the movie is set.

Correction: It's not an elastic, merely a flexible type of string. Silk probably.


Corrected entry: It is not possible that Mme. Giry could have gotten to the mirror room in time to grab Raoul that fast. She would have to go down at least one flight of stairs and several hallways(judging by where Raoul fell through) while still managing to keep a lower profile.

Correction: Everyone was examining the hole through which Raoul fell so they wouldn't have noticed her sprinting to the stairs and through the hallways.

Corrected entry: When Firmin and Andre are reading their letters from the Phantom to each other, their mouths don't match up with the audio.

Correction: This is incorrect. The mouths do synch with the audio.

Corrected entry: In "Think of Me", when Christine hits the high note at the end, she has a wide smile on her face. I am a choir student, and I can assure you that it is impossible to sing that note without dropping your jaw a lot more. Had she attempted to, the note would have been painfully sharp. She doesn't have her jaw dropped enough in "The Phantom of the the Opera" either.

Correction: I, among others, am able to hit that note without dropping my jaw very far. You're supposed to smile if you're flat to sharpen it up and perhaps her voice is naturally a bit flat. In "Phantom of the Opera" we can only see her face for a small part of when she's singing the higher notes and her jaw is pretty dropped. Not to mention we can't see her on her highest note.

Corrected entry: During the rehearsal of Hannibal, Piangi walks on stage wearing a hat, in the next shot the hat is under his arm.

Correction: It's perfectly logical that he would have enough time to pull off his hat while the old manager is introducing the new ones. All the other guys take off their hats as well.

Corrected entry: When the Phantom appears at the top of the stairs during Masquerade his hands are empty, yet by the time he reaches the bottom he's holding the score to Don Juan.

Correction: That's because he has the score tucked into his belt.

Corrected entry: At the beginning of the movie when Carlotta is singing her rendition of Hannibal the Phantom drops a background on her. It's impossible that she'd be okay because oleos (which is what holds the background down) are VERY heavy and would at least break her legs.

Correction: The oleos hit the ground right behind Carlotta. She is knocked off her feet by the canvas collapsing only.

Corrected entry: When Raoul is on his way to the Phantom's lair after "The Point of No Return," he falls through the floor and into one of the Phantom's traps. The ceiling above him is lowering, and there is a handle in the water that he eventually turns, causing the gate to rise and he is able to escape. This seems ridiculous: how could a genius like the Phantom overlook this and put the escape to his trap in easy reach of the victim?

Correction: The Phantom actually wanted Raoul to arrive at the lair. The trap was meant to delay Raoul and give the Phantom some time alone with Christine before the confrontation.

Corrected entry: In the Masquerade scene, when Madame Giry has her line, "And what a Masquerade", you can see Meg in the background mouthing the line as well.

Correction: Actually, several people in the background are singing the same line - it's just the Mme. Giry is the only one "highlighted" so to speak.

Corrected entry: When Raoul is running down the stairs to the Phantoms lair, he looks over the side and sees the stairs fading into the distance, he then falls into the water trap, but he should just fall through to the next set of stairs.

Correction: Presumably, he is tossed into some sort of chute which bypasses the stairs and takes him over to where it drops to the water.

Corrected entry: Before Christine removes the Phantom's mask after Don Juan, his hair is brown and nicely slicked back. However, a split second after she removes the mask, it magically turns to blond and disheveled.

Correction: As this has been corrected a few times before, when Christine pulls off the mask she also pulls off a wig that the phantom was wearing.

Corrected entry: In the lair scene when the Phantom shows Christine her wedding dress for the first time and she faints, when he starts to carry her to the bed, he runs her head into a large tassle that drags across her face.

Correction: This is not a mistake.

Corrected entry: During the performance of Don Juan, there is a fake fire pit in the middle of the stage. The only way for the cloth 'fire' to be blowing continuously would be if there was an electric fan below the pit. Also, when the Phantom and Christine plunge into the pit, there is no fan to be seen.

Correction: An "electric" fan is not the only way to go: there are mechanically-powered fans, for example. As for there being no fan when they fall, the bright lights inside the hole prevent us from seeing what's in it, so we don't know what is the precise arrangement there.


Corrected entry: During Christine's solo "Wishing You Were Somehow Here Again" in the graveyard, she is walking past gravestones with flowers clutched to her chest. In one shot, she suddenly has both arms down to her side and then begins to raise them back up to her chest.

Correction: Actually, when she has her arms clutched, you see she is just walking forward, whereas when she begins to rise them again, she's climbing the last stairs of a monument, which shows that some time is supposed to have elapsed between those two shots.


Corrected entry: After the wedding ring has been seen in 'Bal Masque' Raoul and Christine are walking toward the dance floor for the 'Masquerade' sequence, holding hands left hand in right. The next shot, the hands are left to left, with a mask in Christine's right hand.

Correction: They are never holding hands left hand in right; it's Raoul's hanging sleeve that gives the impression. In fact, when seen from behind, look under Christine's left arm: we can see Raoul's left hand reaching for hers, which then blends perfectly with the shot from the front, showing them holding hands left in left.


Corrected entry: After "Music of the Night", Christine wakes up and exits her bedroom. She reaches up with her right hand to pull back her hair. Her sleeve catches on her corset and hangs from it rather humorously until the camera angle changes.


Correction: The catching sleeve itself isn't a mistake, and there is a good 10 seconds where we don't see Christine below her face: the sleeve had plenty of time to come unstuck.


Corrected entry: In one scene, the prop room of the Opera Populaire can be seen. Visible are a group of gobosticks (clamps on long poles which can be assembled to support film and stage equipment). While appropriately theatrical, these are recognisably modern models.

Correction: I was not able to spot any gobosticks. More details should be provided as to where and when they are visible.


Corrected entry: When Christine and Raoul take the floor to dance during "Masquerade" neither of them is holding any sort of mask (despite it being "Bal Masque"). However, a few shots later, Christine is seen dancing with a mask on a stick in her hand. She never uses it and it vanishes after the next couple of shots.

Correction: Her right hand is off screen the whole time until we see the mask; that's the hand she's holding it with.


Corrected entry: At the end of "Music of the Night", Christine faints. When the Phantom lifts her, the feet of her stockings are dirty, as can be expected from her walk. When the Phantom lays her down in bed, the stockings are clean and white again. When she wakes up, the stockings are gone altogether.

Correction: Her stockings aren't clean when he puts her to bed. It's the light that's so bright that it doesn't allow you to see the soles of her stockings, so bright and white do their top become. As for her having no stocking, there are two possible explanations: she woke up during the night and took them off, as they were uncomfortable, or the Phantom did it for her because he didn't want her to be uncomfortable in her sleep.


Corrected entry: During the song "Why So Silent", the Phantom sings, "Remember there are worse things than a shattered chandelier." While this works in the stage version, where the chandelier crashes during in an earlier scene, the movie doesn't have the chandelier crash until a point between "Point of No Return" and "Down Once More"

Correction: In the movie version of "Why So Silent?" the Phantom never sings the above line about the chandelier. The part of the song in the musical where he sings about the chandelier is replaced in the movie with his instructions about Carlotta, Piangi and the owners, then about Christine. He then rips the chain off of Christine's neck and jumps into the hole in the floor, never uttering a word about a chandelier.

Corrected entry: When Raoul jumps into the Mirror Room, just before the lasso drops, you can see Madam Giry standing in the mirror. She seems to be waiting for her cue.

Correction: As soon as she saw Raoul jump, she knew where he would fall, so she went there right away. She only needed to wait until the Phantom wouldn't see and she could make her move safely before rescuing Raoul.


Corrected entry: Christine's Swedish father's name is seen spelled Gustav. Although pronounced with a V at the end, that name was in Sweden spelled with an F, Gustaf, until some time during the 20th century, when some people have begun to spell it with a V.

Correction: Actually, his name is spelled 'Gustave' (as can be seen on his picture frame, for example), which is the French spelling for the name. Until the XXth century, it was common to adapt foreign names for each language, so a Swedish violinist in France (where the picture was taken and where he and Christine were living) would have his named spelled the French way. It's like Josef Strauss becoming Joseph Strauss, or Guillaume le Conquérant becoming William the Conqueror.


Corrected entry: During the opening scene at Public Auction, the auctioneer sells a few pistols belonging to a production the house put on in 1830. This is not possible due to the fact that the Opera Populaire (in which the movie takes place) had not started construction till 1862.

Correction: Again, this is not the real Paris Opera Garnier, this is the fictional Opera Populaire. It could have been built any time the director wanted.

Corrected entry: The horse that Raoul jumps on to go to the cemetery is wearing a driving bridle, but attached are normal short reins used in riding. Shouldn't there be driving reins attached for convenience to hitch up to a carriage later?

Correction: When Raoul jumps off the horse at the graveyard, you can see the reins are knotted several times to make them shorter.

Corrected entry: Even though it sometimes snowing, we never once see the breath of any of the characters when they are outside.

Correction: It's easily possible that it wasn't cold enough to see their breath. I live in a cold area, and in the spring especially we often have lots of snow, but we don't see out breath.

Corrected entry: As Christine enters through the cemetery gates, walking towards her father's tomb in the snow, the gush from the mist-making equipment is visible on the bottom, right behind a small rock.

Correction: You can not see the actual machine, only the fog coming from it - even during slow mode.

Corrected entry: The Phantom is a "genius composer," as described by Madame Giry (and shown throughout the movie with his songs), and the Opera Populaire is "world renowned," so how did Don Juan Triumphant end up being so bad that the audience was making horrible faces?

Correction: That is because the Phantom's music was ahead of its time. While most of the audience would have been more used to Hannibal and Il Muto, they would have never really heard of anything similar to Don Juan Triumphant. There was a worse reaction to Stravinsky's "Rite of Spring", which was also ahead of its time, and now it is considered a great work.

Corrected entry: The Phantom's hair seems to get significantly lighter after Christine rips off his mask, during the Point of No Return, and it stays this colour throughout the remainder of the film.

Correction: Along with the mask Christine also pulls off a black wig, which was used to cover over part of the abnormality of his face which went in to his hairline and wasn't covered by the mask. His hair was actually lighter, but covered over by the wig. It also seems to get longer after she pulls the mask off.

Corrected entry: At the beginning when they rehearsing for Hannibal, André suddenly has a pair of handcuffs around his neck. In a far shot they are not there, but then in a closer shot they are. In the next far shot, they are gone again.

Correction: While it's true we don't actually see one of the dancers put the chain around Andre's neck, it can be assumed one of the dancers does so during the time they were all packed close in front of him. During the far shot, the chain is indeed still there, it's just hard to see because he is wearing a dark coat and the chain is dark. When the song is completely finished and all the dancers come up from their final poses, we see one of the girls unwrapping the chain from Andre's neck.

Corrected entry: During the 'The Point of no Return', the Phantom sings 'what sweet seduction lies before us' while running his hand down Christine's arm. Watch as he reaches her bracelet-it comes off in his hand, then in the next shot it is done up again.

Correction: If you look at her bracelet again in the scene just as she is about to remove the Phantom's mask, you'll see that it has a dangling part coming off it, and this is what fell when the Phantom ran his hand down her arm; it didn't come off.

Corrected entry: During the scene where the opera of Don Juan is taking place, Christine's dress continuously changes position. First it is on her shoulder, then it is off her shoulder, then back on again. This happens several times.

01:45:00 - 01:47:05

Correction: The sleeves do slip, but we see them slip sometimes and sometimes we see her pull them back up. This was deliberate and meant to show her uncertainty.

Corrected entry: As Meg enters the secret passageway, the camera zooms in on Christine's abandoned rose on the floor in front of the mirror. How did it get there? Christine was empty-handed when she approached the mirror.

Correction: It's possible the Phantom was bringing the rose to Christine, and just dropped it there when she came through the mirror with him.

Corrected entry: As much as I hate to say it, there are some dubbing faults in this film. Probably the worst one is during the Phantom's last song to Christine, the actor mimes the word to the end of the note, however it sounds very like the voice singing in the studio took a breath before the actor finished the note on screen.

Correction: This doesn't happen. The Phantom stops singing, but leaves his mouth open because he is sobbing. That's what the breathing sound is.

Corrected entry: As she walks about the Phantom's lair, Christine's robe opens revealing the tops of her stockings, which appear to actually be hold-ups without a garter belt or suspenders to attach them to her corset. These would not have been invented in 1870.

Correction: These would have been attached to the corset with a garter, but she didn't have time to put on the suspenders before the Phantom interrupted her.

Corrected entry: Firmin's lips go wild and nowhere near the right words just before Raoul comes in with "where is she?"

Correction: I've now seen this many times and have not seen this take place. I believe his next line is "you mean Carlotta?" and it matches perfectly.

Corrected entry: In the scene near the end, the Phantom is singing to Christine in front of the model of her (wax figure?). He puts the veil on her, and it shows that she's wearing it on the shot of her. In the next shot when it switches to him, you can see her hair, but she's not wearing the veil. Then the camera switches back to her, and she's wearing it again.

Correction: Christine is still wearing the veil. We can only see the side of her hair, which the veil has been shown not to cover.

Corrected entry: On the roof top scene where Christine is talking to Raoul she is wearing dark lipstick but just before they kiss it disappears.

Correction: If you look again, the lipstick is still there. It went away after they kissed, understandably because they didn't have "kiss proof" lipstick in the 1800s.

Corrected entry: The size of the deformity on the Phantom's face is very inconsistent. Sometimes we see him with a small face mask that leaves almost his entire forehead exposed, but when he is unmasked at the end it reveals a deformity outside the area the black mask covered - meaning at least some of it would have been visible before.

Correction: It is commonly accepted that the part of his deformity that isn't covered by the mask is covered with make up. His deformity is too large to completely cover with make up all the time so what he can't cover with a mask he uses make up.

Corrected entry: In Il Muto, right after Carlotta has fled the stage because of her voice, André says that they will now perform the ballet from Act III. How were the dancers able to change into their costumes that fast, they had only been in the first 5 minutes of Act I, so it's not as though they were already in costume. Even Meg Giry has changed costumes, and she was in the first scene.

Correction: Having performed in many ballets, I know this is possible in two ways: (1)Once a scene is finished, performers often get into their next costume right away in order to avoid any problems or delays later on, or (2) a "quick change", aided by backstage personnel, which enables performers to get into a completely different costume in an extremely short period of time if necessary.

Corrected entry: When the Phantom wears his white mask you can see his entire upper lip and it is not deformed. Yet when he is seen unmasked the right side of his upper lip is a bit deformed as well, certainly not as perfectly fine as it was when he wore his white mask.

Correction: It is commonly accepted that the Phantom wears makeup to cover any deformity that his mask does not. That also explains why his eye seems fine through the mask when it is not. It is very probable that he could not cover his entire deformity, especially the skin condition, and that is why he still wore the mask.

Corrected entry: As the two new owners arrive at the opera house you can see in the background Paris. The view is from the Opera Garnier towards the Seine river (the south). We see in the far background a hill with a monument on top which never existed on the south side of Paris, and we also see that the opera is itself on top of a hill (because of the sort of balcony with street lights). In real life, facing south of the Opera, everything is totally flat. It seems that they relocated the opera house towards Montmartre for the movie. Also, at the very very beginning you see a postcard like picture of the opera house, behind you also see bridges. From the point of view of the picture taken (facing north, slightly west) the Seine river can not be on the postcard (as mentioned the Seine is south of the Opera).


Julien Lecomte

Correction: The movie doesn't take place at the Opéra Garnier, but at the fictional "Opéra populaire" (you can see its name at various times on the building, posters, etc.). It can be located anywhere the movie makers want it to be.


Corrected entry: There is a ten-to-fifteen year difference between Raoul and Madame Giry's ages, yet in the "future" scenes, Patrick Wilson and Miranda Richardson have been aged the same amount. She should look much older than him.

Correction: According to "The Phantom of the Opera Companion" book, the old lady indeed is Madame Giry: in spite of her being 15 years older than Raoul, she looks this way because she aged better thanks to her good health due to her being a dancer for so long. Raoul didn't have such good health, plus was ravaged by Christine's death two years before.


Corrected entry: Throughout the entire movie, various occurrences are seen of electrical lighting in the Opera Populaire. For example, the lamp Madame Giry turns on just before she begins to tell the story of how she rescued the Phantom. Phantom of the Opera is supposed to take place in the 1870. However, Edison did not first invent the light bulb until 1879. Hence, the electric lights would have been impossible.

Correction: In the case of Mme. Giry turning on the light, she's turning up the gas in the lamp, making it burn brighter.


Corrected entry: Raoul left the Opera House not long after Christine did, and he knew where she was going. Despite the speed at which he was riding his horse, it takes him a very long time to get to the cemetery.

Correction: It's snowing, so the ground is frozen. He's on horseback. She's in a carriage. The carriage will have better adherance to the road than horseshoes would, so Raoul would have to go slower. If he didn't, then his horse could have slipped and he would have fallen down, thus slowing him down.


Corrected entry: While conducting the pit orchestra on screen during the opening bars of "Don Juan", the conductor gives a downbeat which indicates to all musicians the first beat of a bar. However, the music heard on the movie at the time of the downbeat is actually the 2nd beat of the bar.

Correction: There could have been a rest on the first beat of the bar in question, in which case the conductor would give the orchestra the first downbeat and they would not begin playing until the second beat.

Corrected entry: When Raoul fell in the water and the grate started to come down on him, there should have been a hole his size or bigger in the grate. Otherwise, when he had fallen through the trap door, he would have landed on the grate and been standing on it.

Correction: It is safe to assume that there is a chute which Raoul falls into and slides down before falling into the water. The chute opens under the grate. If there was not a chute, any intruder would simply fall onto the stairs below as they are spiral stairs.

Corrected entry: When the Phantom is tying Raoul up attempting to strangle him, he ties ropes around the grille above Raoul's head. However, on the longer shot, the ropes around the grille appear to be much higher up than a person could reach.

Correction: The phantom feeds the the rope through the grate, you can see him only put it about two or so feet above Raoul's head.

Corrected entry: The dressing room that the Phantom removes Christine from through the mirror is Carlotta's dressing room, as can be seen by the posters in the background. Surely the Phantom has no interest in spying on Carlotta?

Correction: The Phantom built that secret door long before he ever met Christine or Carlotta.

Corrected entry: Christine has the Phantom's rose in her hands when she comes out on the Opera House's rooftop, but her hands were empty when she was climbing the stairs.

Correction: If you look closely at her hands throughout the sequence the rose can be seen.

Corrected entry: The promotional posters and other material show a picture of the masked Phantom with Christine in his arms. The lighting and angles are very dramatic - seemingly enough so to justify sacrificing continuity, because the Phantom wears his mask on the left side of his face in this picture, while he wears a right-side mask for the whole of the film.

Correction: The idea of the poster is that they are looking in a mirror. It is not a mistake, just a clever depiction of his obsession.

Corrected entry: As the trap is set at the Paris Opera for the Phantom, armed police are seen arriving and it is evening but moments later inside the building Christine is in the chapel with bright sunshine streaming through the stained glass window.

Correction: The light shining through could very possibly be moonlight. As in Madame Giry's flashback we see a lot of moonlight shining down through the other gate on the opposite side of the chapel.

Corrected entry: When Raoul is running down the spiral stairs to the Phantom's lair to rescue Christine, the grate (that starts to come down on him) is visible below him. How did he get underneath the grate?

Peter Vanicelli

Correction: While running down the stairs, Raoul steps on a trap door and falls through it into the water, which is below the grate.

Corrected entry: When the movie begins and they are at the auction, it says "Paris, 1910"; however, at the end of it when Raoul goes to Christine grave (the same day of the auction), it says that she died in 1917.

Correction: It doesn't say '1910.' It says 'Paris, 1919.'

Corrected entry: When Christine leaves the opera house and asks for a carriage to the cemetery, she is wearing a white night gown. She gets a cloak, but by the time she gets to the cemetery she is wearing a full black dress.

Correction: We don't see what happens after she reaches for the cloak. She could have changed her clothes between then and when she gets into the carriage.

Corrected entry: During the scene in the chapel just before "Don Juan Triumphant", Raoul goes to see Christine. When he enters the room, he is wearing his sword. Just before he sits down the sword vanishes. He never moves enough to remove it, nor do we ever hear it hit the floor.

Correction: His sword would have been in a scabbard on a belt tied to his waist. Seeing as he is wearing a very long coat, the coat is most likely covering the sword.

Corrected entry: When Christine is singing "Think of me" and the camera view changes to show her in full costume later that night, it is quite obvious that there are stage lights (aka spotlights) shining on her. However, at the beginning of the film, we are told that the chandelier has been fitted with the "new electric light." If electric lights were new in the early 1900's, then they could not have been in use in 1870.

Peter Vanicelli

Correction: As could be seen during the transformation scene earlier (old to new), those aren't spotlights, but theatre lights, using candles/gaslight and reflectors.


Corrected entry: The date given in the film (flashback) is 1870. The Paris Opera House wasn't opened until 1875.

Correction: On the building it says "Opera populaire". This is not the Palais Garnier (the Paris Opera) but a fictitious opera house in Paris.


Corrected entry: During the scene where Raoul and the Phantom fight in the cemetery, Raoul gets a gash on his left arm that leaves his shirt looking bloody. After they leave the cemetery and go back to the Opera House, it is assumed that quite some times passes. During the Final Lair scene at the end, however, there is still the same bloodstain on Raoul's shirt. Being the rich Vicomte that he is, he should have been wearing a different shirt instead of the old, stained, ripped one.

Correction: Raoul is wearing a different shirt; when he is running to the lair and takes off his jacket you can see that there is no blood stain on it. His wound opened up again and started bleeding.

Corrected entry: Raoul buys the little music box to lay at Christine's grave - but in the film, he never had occasion to see it.

Miriam Evenden

Correction: Right after having won the auction, Raoul says that the music box is just as Christine had described it. He had never seen it, but because of her talking about it, he was still able to recognise it right away.


Corrected entry: We first see Carlotta in a rehearsal for the opera "Hannibal," that is supposed to open that same night. The directors request her to sing the aria from the third act, then the accident occurs, and Carlotta storms out. Christine takes over the aria, and it is decided she will perform on the first night. Then there is a cut to that first night, Christine singing the aria in question, but in a costume and in sets that have obviously nothing whatsoever to do with "Hannibal."


Correction: Carlotta throws her tantrum because her dress for the third act aria isn't ready–she says so herself. Of course it wouldn't be ready for Christine either, who then has to wear *something* for it.


Corrected entry: In the 'present day' scenes at the beginning of the film, we see the run-down theatre, filled with cobwebs and debris, while it's being used for the auction. However, in the scenes set earlier, we see that the theatre was consumed by fire; but there are no signs of this in the scenes set later.

STP Premium member

Correction: There are nearly 50 years between the main plot and the framing story. The opera house could have been restored after the fire and fallen into disuse during World War One.


Corrected entry: Meg has a fringe which keeps changing length. It starts off short at the beginning of the film, it then gets longer, but by the end of the film it is back to being very short.

Correction: Considering that the plot covers at least a few months, there is no reason why her hair shouldn't have grown, and that when the bangs grew too long, she had them cut to the former length.


Corrected entry: We are told that the Phantom has never left the opera house since he arrived there as a child, yet he somehow knows the exact route to the cemetery when disguised as the coach driver.

Correction: Just because the Phantom has "never left" the opera house since he was a child, that doesn't necessarily mean that he's there 24/7. Most likely, they are referring to the fact that the opera house has been his residence since he was a child.

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