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Welcome along to Great Movie Mistakes. | 0:00:25 | 0:00:28 | |
This show blows a hole in the carefully constructed veneer of Hollywood perfection. | 0:00:28 | 0:00:32 | |
Our team of continuity experts or geeks | 0:00:32 | 0:00:36 | |
have locked themselves away in the archives to track down the best howlers on the silver screen. | 0:00:36 | 0:00:41 | |
So here are those mistakes, the ones that have made all that hard work very nearly worthwhile. | 0:00:41 | 0:00:47 | |
Braveheart, and here's some angry Scots | 0:00:50 | 0:00:52 | |
indulging in their traditional national sport...slaughter. | 0:00:52 | 0:00:55 | |
Mel can't make up his mind what weapon to use, though. | 0:00:55 | 0:00:57 | |
Here, he's got a small pickaxe. | 0:01:04 | 0:01:07 | |
Now it's disappeared. | 0:01:10 | 0:01:12 | |
Beg your pardon, it's a large sword. Sword. | 0:01:14 | 0:01:18 | |
No, it's a pickaxe again. | 0:01:19 | 0:01:20 | |
My mistake. It's a sword. | 0:01:23 | 0:01:25 | |
God only knows what he's going to use by the time he gets there. | 0:01:25 | 0:01:28 | |
Here's Mel again, frolicking through woodland like what people did then. | 0:01:32 | 0:01:35 | |
Then all of a sudden, whoa! | 0:01:35 | 0:01:37 | |
There's a sword in his hand. | 0:01:37 | 0:01:39 | |
No. You're not drunk. Well, Mel might be. | 0:01:42 | 0:01:44 | |
It just magically appears. Watch. | 0:01:44 | 0:01:47 | |
Weird. Still, at least he's got something he can cut his hair with now. | 0:01:51 | 0:01:54 | |
-Thank you, Colonel. -This is Valkyrie. | 0:01:57 | 0:02:00 | |
In which Tom Cruise tries to boost his flagging popularity by playing a German. Hmm. | 0:02:00 | 0:02:05 | |
Cruise's character Stauffenberg hands Herr Hitler the revised version of Operation Valkyrie. | 0:02:09 | 0:02:14 | |
See how Hitler grabs the folder with his right hand and in the next shot, | 0:02:14 | 0:02:18 | |
he's holding it with his left hand. | 0:02:18 | 0:02:21 | |
Come on, Hitler. Ah! | 0:02:21 | 0:02:23 | |
Rewind. | 0:02:23 | 0:02:24 | |
See? A sloppy error from one of the most reviled men in history. | 0:02:27 | 0:02:31 | |
And just to be clear, I'm talking about Hitler. Not Tom Cruise. | 0:02:31 | 0:02:35 | |
This is Hairspray, and the tubby girl you can see is John Travolta, | 0:02:40 | 0:02:43 | |
dressing like he does whenever his wife goes out. | 0:02:43 | 0:02:47 | |
Keep your eye on the road outside Mr Pinky's. | 0:02:47 | 0:02:49 | |
There's no sign of a car, and then wallop! | 0:02:49 | 0:02:52 | |
There's a pink one right next to them. | 0:02:52 | 0:02:55 | |
Then it's gone again. Now it's back. And it's gone. | 0:02:55 | 0:03:00 | |
Like John, I'm deeply confused. | 0:03:00 | 0:03:03 | |
Charlie And The Chocolate Factory. Tim Burton loves a bit of fantasy. | 0:03:08 | 0:03:11 | |
Except what he calls fantasy, others call lies. | 0:03:11 | 0:03:14 | |
Watch here. They should get thrown backwards, not forwards. | 0:03:14 | 0:03:19 | |
Yeah, let's see that again. | 0:03:22 | 0:03:24 | |
Get your actors to dress up in funny clothes and make-up by all means, | 0:03:26 | 0:03:29 | |
Mr Burton, but please don't tinker with the basic laws of inertia. | 0:03:29 | 0:03:33 | |
Next, The Devil Wears Prada. | 0:03:36 | 0:03:40 | |
And that's Anne Hathaway picking up her early morning bagel. | 0:03:40 | 0:03:42 | |
And as we now enjoy some shots of ladies in swish outfits, something very odd is happening to that bagel. | 0:03:43 | 0:03:49 | |
# She's got the power to be, the power to give, the power to see | 0:03:49 | 0:03:52 | |
Yeah, it's turned into a pair of brown leather gloves. | 0:03:52 | 0:03:56 | |
Or was I dreaming that? | 0:03:56 | 0:03:58 | |
Because the bagel's back again. | 0:03:58 | 0:04:00 | |
The moral here, never fully trust a bagel. | 0:04:00 | 0:04:04 | |
And finally, The Lion, The Witch And The Wardrobe, | 0:04:07 | 0:04:10 | |
or TLTWATW as I like to call it. | 0:04:10 | 0:04:13 | |
Here's Mr Tumnus, famous for having hooves where his feet should be. | 0:04:13 | 0:04:17 | |
But look, those hooves are leaving great big man-shaped footprints in the snow. | 0:04:17 | 0:04:22 | |
Just look at 'em. | 0:04:22 | 0:04:23 | |
Tumnus' footprints are even more dodgy than him | 0:04:27 | 0:04:30 | |
inviting a defenceless young girl into his home for dinner. | 0:04:30 | 0:04:33 | |
Honestly, Mr Tumnus. | 0:04:33 | 0:04:35 | |
Sex And The City was that funny old time in the TV schedules when men everywhere would mysteriously find | 0:04:37 | 0:04:44 | |
themselves stood in the kitchen gazing listlessly into the fridge. | 0:04:44 | 0:04:47 | |
But for their better halves it was a chance to dip into the lives of four women who were spunky, kooky, sassy | 0:04:47 | 0:04:54 | |
and other words that don't really mean anything. | 0:04:54 | 0:04:57 | |
The characters think nothing of spending thousands on clothes and shoes | 0:04:57 | 0:05:00 | |
to look their glamorous bests. | 0:05:00 | 0:05:02 | |
Shame the makers of the film didn't bother to do the same. | 0:05:02 | 0:05:05 | |
Watch these errors. | 0:05:05 | 0:05:08 | |
You have to eat a little breakfast. | 0:05:10 | 0:05:13 | |
Sex And The City, the movie. | 0:05:13 | 0:05:14 | |
I've loved SJP's long, long face ever since her movie debut | 0:05:14 | 0:05:17 | |
in the Godfather, when she played that horse's head left in the bed. | 0:05:17 | 0:05:21 | |
In this scene we've got teapot problems. | 0:05:21 | 0:05:24 | |
It's Art Deco, | 0:05:24 | 0:05:26 | |
then the next second it's normal. | 0:05:26 | 0:05:29 | |
Then we go back to Art Deco, and you've guessed it, | 0:05:29 | 0:05:34 | |
there's just time for it to go back to normal. | 0:05:34 | 0:05:37 | |
The irony is that Carrie doesn't even like tea. | 0:05:39 | 0:05:42 | |
Her preference would be for Tizer. | 0:05:42 | 0:05:44 | |
SHE SCREAMS | 0:05:46 | 0:05:49 | |
Similar balls up here with the napkin in Charlotte's hand. | 0:05:50 | 0:05:55 | |
It's not there. | 0:05:55 | 0:05:56 | |
Then it is. | 0:05:56 | 0:05:59 | |
..She just got engaged. And she has been going out with the man... | 0:05:59 | 0:06:01 | |
Then it's not. | 0:06:01 | 0:06:04 | |
APPLAUSE | 0:06:04 | 0:06:05 | |
And it's back again. Stop applauding her error, you dimwits. | 0:06:05 | 0:06:09 | |
In this dressing-up scene, | 0:06:13 | 0:06:14 | |
Carrie's kind but ageing friends are out on the lash. | 0:06:14 | 0:06:18 | |
But when she emerges in her iconic ballet outfit, watch the door behind her. | 0:06:18 | 0:06:23 | |
Is it open or is it closed? | 0:06:23 | 0:06:25 | |
Because it can't be both, as that would be then clopen, and that's not even a word. | 0:06:25 | 0:06:30 | |
In the film Spider-Man, Peter Parker gains his powers because he's bitten by a spider, | 0:06:35 | 0:06:41 | |
which apparently is a realistic way of conferring abilities. A similar thing happened to me. | 0:06:41 | 0:06:46 | |
I was also recently bitten by a spider, but all it gave me were the powers of a 37-year-old man. | 0:06:46 | 0:06:51 | |
And not a very good one. As well as the onset of nasal hair and a faint midlife crisis, | 0:06:51 | 0:06:56 | |
it's given me the powers to pick out continuity errors in films. | 0:06:56 | 0:07:00 | |
Like so. | 0:07:00 | 0:07:02 | |
In this scene, Peter Parker shoots a web and smashes his lamp up | 0:07:06 | 0:07:10 | |
like some arachnid vandal. | 0:07:10 | 0:07:11 | |
< Peter? | 0:07:12 | 0:07:13 | |
-His busybody aunt comes to check. on him. -What's going on in there? | 0:07:13 | 0:07:18 | |
And embarrassed by the state of his teenage bedroom, he refuses to let her in. | 0:07:18 | 0:07:22 | |
-You're acting so strangely, Peter. -OK, thanks. | 0:07:22 | 0:07:26 | |
But when she leaves, the lamp is back where it started. | 0:07:26 | 0:07:31 | |
That mars an otherwise perfectly believable film. | 0:07:31 | 0:07:33 | |
Harry! > | 0:07:35 | 0:07:37 | |
We're about to see an extra that loves Peter Parker so much, | 0:07:37 | 0:07:41 | |
it's disturbing. Look how much she's hanging around. | 0:07:41 | 0:07:45 | |
She walks past there... | 0:07:45 | 0:07:47 | |
Harry says you're a science whiz. I'm something of a scientist myself. | 0:07:47 | 0:07:51 | |
I read all your research on nanotechnology. | 0:07:51 | 0:07:54 | |
..and there... | 0:07:54 | 0:07:55 | |
-Yes, I wrote a paper on it. -Impressive. | 0:07:55 | 0:07:59 | |
..and there...and there. | 0:07:59 | 0:08:04 | |
Thank God she's gone. I was beginning to worry for Peter's safety. | 0:08:05 | 0:08:09 | |
No, there she is! Deeply sinister extra. | 0:08:13 | 0:08:16 | |
She belongs in a secure ward for stalking behaviour. | 0:08:16 | 0:08:18 | |
Here's Spidey and MJ swinging through New York | 0:08:23 | 0:08:25 | |
like some sort of urban Tarzan and Jane. | 0:08:25 | 0:08:27 | |
No wonder MJ loves him. But hang on... | 0:08:27 | 0:08:31 | |
..that's clearly a lifeless mannequin. | 0:08:34 | 0:08:37 | |
Look, OK, maybe mannequins dressed in Lycra are her thing. Kinky. | 0:08:37 | 0:08:41 | |
We all know that newspapers never make mistakes. | 0:08:44 | 0:08:48 | |
So how do we explain this? | 0:08:48 | 0:08:49 | |
In the left column, there's a quote from police spokesman John Young, | 0:08:49 | 0:08:53 | |
"We've heard of Good Samaritans, | 0:08:53 | 0:08:55 | |
"but in 20 years, I've never seen anything like this." | 0:08:55 | 0:08:58 | |
And then, on the right, he says it again. | 0:08:58 | 0:09:01 | |
"We've heard of Good Samaritans, | 0:09:01 | 0:09:02 | |
"but in 20 years, I've never seen anything like this." | 0:09:02 | 0:09:05 | |
I don't know what to say about that, I really don't. | 0:09:05 | 0:09:07 | |
Although I have a fair idea of what John Young would say. | 0:09:07 | 0:09:10 | |
Here's a tip. Never play cards | 0:09:14 | 0:09:17 | |
with James Jameson, the editor of the Daily Bugle. | 0:09:17 | 0:09:19 | |
Check out his sleight of hand. | 0:09:19 | 0:09:21 | |
Watch the third picture. Got it? | 0:09:25 | 0:09:27 | |
Now see what happens when he puts it down. | 0:09:27 | 0:09:29 | |
It's a different picture. Who's the real superhero in this film? | 0:09:29 | 0:09:34 | |
Here's Peter being rescued by an infant. | 0:09:38 | 0:09:42 | |
But what's this under her jim-jams? | 0:09:42 | 0:09:44 | |
Looks like kneepads to me - the only sure fire way to stop anyone | 0:09:44 | 0:09:48 | |
kneecapping you as you sleep. Clever girl. | 0:09:48 | 0:09:51 | |
Now for some errors that are only for the truly eagle-eyed. | 0:09:54 | 0:09:57 | |
Sure, some people might say it's nerdy or geeky or sad of the team even to have spotted them. | 0:09:57 | 0:10:02 | |
Is it sad? Is it sad to strive for perfection in movie-making? | 0:10:02 | 0:10:06 | |
Is it sad to want to enjoy that one true error-free film? | 0:10:06 | 0:10:10 | |
Is it sad to rewind and replay every scene of every film you ever watch in the hope of spotting any error | 0:10:10 | 0:10:15 | |
and then writing it down in your special book just to crow about it on BBC 3? | 0:10:15 | 0:10:20 | |
Oh, it is? | 0:10:20 | 0:10:21 | |
Right. | 0:10:21 | 0:10:23 | |
BELL CHIMES | 0:10:26 | 0:10:28 | |
Now then. Big Ben would only chime like this on the hour, | 0:10:29 | 0:10:32 | |
but as all you sighted viewers will appreciate in this clip from sci-fi flick Jumper, | 0:10:32 | 0:10:38 | |
the clock reads half past, | 0:10:38 | 0:10:39 | |
which is as far from on the hour as you can get. | 0:10:39 | 0:10:42 | |
I know all that because I learnt it at school! | 0:10:42 | 0:10:45 | |
Forrest Gump. | 0:10:49 | 0:10:51 | |
Listen to the day he says she died. | 0:10:51 | 0:10:53 | |
'You died on a Saturday morning.' | 0:10:53 | 0:10:56 | |
Saturday. | 0:10:56 | 0:10:57 | |
Now look at the gravestone. | 0:10:57 | 0:10:59 | |
It says March 22nd, 1982... | 0:10:59 | 0:11:02 | |
which as any diary fans will know was a Monday! | 0:11:02 | 0:11:05 | |
Jenny's dying is very sad, Forrest, | 0:11:05 | 0:11:08 | |
but lying about it won't bring her back, and believe me, I've tried. | 0:11:08 | 0:11:12 | |
The Shawshank Redemption now. | 0:11:16 | 0:11:18 | |
One of the all-time great movies about redemption | 0:11:18 | 0:11:20 | |
and about Shawshanks, probably. | 0:11:20 | 0:11:22 | |
But if this is the hole that Andy Dufresne escaped through, how can he have reattached the poster? | 0:11:27 | 0:11:32 | |
If he was inside the tunnel, it would be impossible to stick the poster to the wall. | 0:11:32 | 0:11:36 | |
Unless he broke back in, stuck it back up again and jumped over the wall to escape a second time. | 0:11:40 | 0:11:45 | |
Yes, yes, that's probably what he did. Yeah. | 0:11:45 | 0:11:48 | |
Indiana Jones and the Crystal Skull. | 0:11:51 | 0:11:53 | |
Set in 1957, this movie somehow shows us a country, Belize, | 0:11:53 | 0:11:57 | |
which didn't exist until 16 years later. | 0:11:57 | 0:12:00 | |
It should be called British Honduras. | 0:12:00 | 0:12:02 | |
It feels wrong to have a go at Hollywood for this, though. When it comes to showbiz archaeology, | 0:12:05 | 0:12:09 | |
they gave the world Indiana Jones, and we gave it Time Team. Boo. | 0:12:09 | 0:12:14 | |
The same Indy film here. Set, you'll remember, in 1957. | 0:12:17 | 0:12:20 | |
But have they invented digital readouts in 1957? | 0:12:20 | 0:12:24 | |
Our survey says... | 0:12:25 | 0:12:27 | |
UH-UH! | 0:12:27 | 0:12:29 | |
The 40-Year-Old Virgin, and here's one for super-nerds. | 0:12:35 | 0:12:39 | |
As Cal and Dave play video games and cast aspersions | 0:12:39 | 0:12:43 | |
on each other's sexuality, there's a clanger to be spotted. | 0:12:43 | 0:12:48 | |
..I kind of want to get back out there, but I think I like guys... | 0:12:48 | 0:12:50 | |
That's right. They're playing Mortal Kombat Deception | 0:12:52 | 0:12:54 | |
and Cal's using a Nintendo 64 controller. | 0:12:54 | 0:12:57 | |
But that game was only ever released on PlayStation 2, | 0:12:57 | 0:13:01 | |
Game Cube and X Box! Oh! | 0:13:01 | 0:13:04 | |
Austrian fashionista Bruno now. | 0:13:07 | 0:13:09 | |
And here he is with the latest celebrity must-have. | 0:13:09 | 0:13:12 | |
TRANSLATION FROM GERMAN: | 0:13:12 | 0:13:15 | |
When Bruno takes baby OJ out of the box, the subtitle reads: | 0:13:18 | 0:13:22 | |
But as anyone who took GCSE German will have noticed, | 0:13:27 | 0:13:30 | |
there's just been a translation gaffe. | 0:13:30 | 0:13:32 | |
Listen, Bruno says "vierzehn". | 0:13:37 | 0:13:40 | |
Which means 14, not 13. | 0:13:40 | 0:13:43 | |
Call the fashion police now. | 0:13:43 | 0:13:46 | |
Subtitles by Red Bee Media Ltd | 0:14:08 | 0:14:12 | |
Email [email protected] | 0:14:12 | 0:14:15 |