Bei Anruf Mord Cocktail für eine Leiche Das Fenster zum Hof Das Rettungsboot Der Fall Paradin Der falsche Mann Der Mann, der zuviel wußte 1934 1956 Der Mieter Der unsichtbare Dritte Der zerrissene Vorhang Die 39 Stufen Die rote Lola Die Vögel Eine Dame verschwindet Endlich sind wir reich Erpressung Familiengrab Frenzy Geheimagent Ich beichte Ich kämpfe um dich Im Schatten des Zweifels Immer Ärger mit Harry Marnie Mord/Der Auslandskorrespondent Psycho Rebecca Riff-Piraten Sabotage Saboteure Sklavin des Herzens Topas Über den Dächern von Nizza Verdacht Vertigo Der Fremde im Zug Berüchtigt

>>> In the scene where Bruce Dern and Barbara Harris are eating hamburgers. He has two on his plate, from a back view she reaches over and takes one. He then removes the cap from the ketchup bottle. The shot switches to a view from his back and the cap is back on the ketchup. He then removes the cap again.

>>> The amount of beer in George's glass at the diner while waiting for Maloney, increases after he takes a drink.

>>> Towards the end when George is in the basement, he passes a window that shows it is day outside, though the scene takes place at night.

>>> When Arthur Adamson opens the garage door Blanche's car is parked directly in front of it and they are not able to leave. But after taking care of Blanche the car has not moved and they are still able to leave the garage.

>>> Watch the bar scene about ten minutes from the start of the film. The barmaid is holding 2 pints, but note how the froth disappears when the shot changes as they are placed on the bar.

>>> When the potato truck with Rusk searching the woman's dead body for his R lapel pin is traveling on the highway, the tailgate is down which allows potatoes to fall out. As the police car passes the truck, the tailgate is up. When the truck driver stops to check the tailgate, the tailgate is again down.

>>> The amount of fish soup the inspector has in his plate changes between shots. The contents of the plate also change and sometimes we see different fish.

>>> The (hanging) camera tracks backward, turning 180 degrees as it goes down a staircase, before going out through the front door. As it passes through an internal doorway within Rusk's house, the door frame can be seen sliding back into place after (presumably) sliding out of the way to let the camera pass through it.

>>> After the camera goes back down the staircase and out the front door into the market, a man walks past with a big sack of tomatoes to cover the transition from the studio shot to the exterior. Before he passes (the studio shot), the door frame on the right is clean, but afterwards (the exterior), a greasy black stain can be seen on the right of the "real" door frame above the doorbell. Also in the exterior shot, a lampshade and the shadow of the archway over the interior door can be seen reflected in the window over the stairs when no such reflection was seen in the studio shot.

>>> The level of the soup in Inspector Oxford's bowl changes inconsistently throughout the scene.

>>> At the start of the movie Blaney is seen finishing the knot on his tie. In the next shot (of him coming down the staircase into the bar), he has the same tie but the colored stripes are different in the knot.

>>> The two strands of the necklace on the detective's wife changes from being together and being loose while she serves the same meal.

>>> As Blaney talks to Rusk at Covent Garden Market early on in the film, his cigarette repeatedly jumps back and forth between hand and mouth between shots.

>>> Mrs Blaney's receptionist estimates Blaney's weight only in pounds. No English person would do this, and would state the weight more likely in stones and pounds, or (rarely) in kilogrammes.

>>> The head on the pints of beer disappears between shots as Maisie brings them to the bar for the doctor and his companion.

>>> As Blaney complains about his "large" brandy, the note scrunched up in his hand with the glass disappears between shots.

>>> When the driver of the potato lorry stops after spilling his load, the locking pins on the tailboard differ between shots.

>>> After he orders a triple, Blaney pays the bartender holding the bill in his left hand from bartender's point of view. The camera switches to Blaney's point of view and the same bill is in Blaney's right hand.

>>> While Brenda Blaney lies dead in the chair, her stomach is moving up and down as she breathes.

>>> When Rusk takes Babs to his home he tells her he lives on the second floor. No English person would say this. From the stairway tracking shot that follows we see that Rusk lives on the floor above street level which in England is called the first floor.

>>> As Rusk is leaving Mrs. Blaney's office, he takes another bite of the apple (previously shown as mostly green but ripening into red) and sets it on the desk with the green side facing the camera. At the door, as he turns to see if he's forgotten anything, the closeup shows the apple with the red side facing towards the camera when it should be facing away from it.

>>> In the porcelain factory, after breaking the statuette, Tamara Kusenov goes through a door to make a telephone call. The goon following her moves towards the door, now closed, to investigate it, and the shadow of a man appears briefly on the wall to the left of the door before we cut away from the shot... and it is not the shadow of the goon...

>>> As the camera, suspended on a ceiling track, follows Rico Parra down the crowded hotel corridor in New York, one of the hanging lights can be seen to suddenly disappear upwards before it has gone out of shot (allowing the camera to continue forwards).

>>> Later in the film, as the camera pushes through the open front door into the house party, the closed door to the left of the screen can be seen to slide out of the way before it has gone out of shot (allowing the camera to continue forwards).

>>> In the overhead shot as Juanita de Cordoba sinks down dead, her dress spreads out evenly in all directions, a brilliant metaphor for the spreading blood pool; however, once she has fully collapsed (still in the overhead shot), the positions of the wires inside the dress, which caused it to spread evenly in all directions, are clearly visible.

>>> Whilst the Mendozas' picnic is being prepared, the kitchen table can be seen to be built in two halves that split down the centre, necessary for the trick shot only a moment later when the camera pushes forwards through the table.

>>> When Paul Newman takes Julie Andrews up a small hill to explain that he is not going to work for East Germany you can see a shot from a distance. It is clear that this scene was done in a studio, as you can see several lights above the blue background (which is supposed to be the blue sky).

Nachfolgende 3 Infos stammen von einem Besucher dieser Homepage (Tonio Gas/28.1.2005):
>>> Als Newman und Kieling zum Landhaus fahren, fahren sie in einem BMW. Bitte?!? Auch kein Stasi-Scherge hatte einen solchen!
>>> Bei der langen Busfahrt gibt es Rückprojektionen mit südkalifornischen Hügellandschaften.
>>> Bei einer Innenaufnahme sieht man im Hintergrund Trümmerlandschaften wie 1945. Man sollte meinen, daß 1966 auch in der sozialistischen Planwirtschaft alles halbwegs wieder aufgebaut war.

>>> A few snippets of dialogue in the scenes in the East German university clearly show that the extras are Americans.

>>> Mikrophon sichtbar. Reflected in the window of the farmhouse as Armstrong enters.

>>> Or their shadow, anyway. On the road-level shot of Armstrong's taxi leaving the farm (Gromek's motorbike is visible on the left of the screen), just at the very bottom of the image can be seen the shadow of the camera (4:3 television version only).

>>> In the farmhouse scene when Professor Armstrong is fighting with Gromek, Gromek is choking Professor Armstrong but Armstrong shows no signs of it, i.e. bruising, in later scenes.

>>> When Armstrong and Lindt are in Lindt's workroom, Lindt erases only the right half of the chalkboard. However, when Armstrong starts writing, the entire board has been erased.

>>> In the scene where Marnie is dreaming, watch her window. The curtains move as if there is wind, but the window is closed.

>>> At the safe, the contents, most noticeably the cash bundles, move around between shots.

>>> Marnie's sweater changes after she gets on her horse.

>>> Marnie is obviously riding in front of a back-projection, as it freezes up as she approaches the wall.

>>> While Rutland and Marnie are at the safe, the stacks of cash change height and orientation from one shot to the next.

>>> When Marnie is riding the horse toward the wall, at one point the projected background is stuck and motionless while the horse is galloping.

>>> Through the porthole on the ship, the water is moving one direction, but in the next shot it is moving the opposite direction.

>>> When Marnie lets red ink to drop in her blouse sleeve, the spot appears elongated in the first shot. In the second shot it appears smaller and rounded.

>>> When Mark and Marnie are at the Rutland's safe, the gun changes size and color between shots.

>>> When Marnie is about to steal from the Rutland safe a second time, during the three quick shots of the safe, in the last shot the dial is in a different position.

>>> When Marnie and Mark are first seen driving to the Rutland estate in his 1964 Lincoln Continental, the gear shift lever on the steering wheel remains in the park position.

>>> When Mark is driving with Marnie after confronting her, the exterior shot shows the Continental in the right lane of the highway, but in the interior shot that immediately follows, the rear projection shows them in the left lane.

>>> When Mark and Marnie arrive at Marnie's mother's house, Mark's shirt is soaking wet, but after Marnie has remembered her childhood the shirt is completely dry.

>>> Obvious stunt double (different hair) when Marnie rides her horse after the hunting trip.

>>> When Marnie and Mr. Rutland are at the Atlantic City Race Courts, there are two drinks on the table. Then Mr. Rutland leaves his seat to place a bet. When he comes back, the drinks are still there, but in the next shot, immediately afterward, when they stand up and leave, the drinks have disappeared.

>>> During the storm scene, Mark leads Marnie to sit on the sofa. For a moment, you can see Mark's lips moving but you can't hear what he is saying.

>>> In the beginning of the movie when Marnie visits her mom, she tells her mom that her boss, Mr. Pemperton, gave her another raise. At the end of the movie, when Marnie and Mark go to the mom's house to confront her with the past, the mom says to Mark, "You're not Mr. Pendleton."

>>> When Mark and Marnie return home from their honeymoon, they go upstairs to their bedroom where Marnie slams the door on the Mark as he's speaking... but his lips aren't moving.

>>> The shadow of the boom mic falls on the wall of Marnie's mother's kitchen while she makes Jessie's pie.

>>> After Melanie has been bandaged up after her attack, she sits up on the sofa, and you can see two large bloody scratches on her left cheek. These scratches disappear when Mitch and Lydia walk Melanie outside to the car.

>>> When Lydia brings out Cathy's birthday cake, in a wide shot the icing is white, then in a closeup the icing is a pink colour.

>>> The birds that attack the schoolchildren have no shadows.

>>> In a scene where Melanie, Mitch and Cathy are walking to the building on the hill along side Melanie's car, you can see the camera move in the reflection on the side of the car.

>>> As Lydia gets into her truck you see a reflection of the stage lights in the steering wheel.

>>> As they all run into the house to get away from the birds the redheaded boy in the grey-blue suit disappears. He runs across the lawn at the same time as Annie and the two little girls with her and should arrive at exactly the same time but we never see him again. Mitch even looks around in his direction to see if there are any children still outside before he enters the house. The boy just disappears from this scene and is not in the last shot of everyone inside the house either.

>>> When Melanie gets up and looks at the birds massed on the monkey bars the area behind her is a tree and a field. This background changes entirely when she and Mitch walk up to find Annie's body and there is what looks like a junk yard with a valley behind it.

>>> When Annie says, "Did you drive up from San Francisco by the coast road?" her lips are mouthing something different.

>>> As Melanie and Mitch walk up the hill behind his house Bodega Bay is at very low tide with a lot of sand bars showing. When they get to the top of the hill it's high tide.

>>> When going along the water in her hired boat, Melanie passes a pole bobbing about in the water. In the next wide shot the pole has vanished.

>>> As Melanie opens the door to the bedroom there is no light except her flashlight but you can see two distinct reflections in the door knob, one of the flashlight and one of the studio light behind her.

>>> The tall structure on the hill behind the swing set has a lot of clouds around it. When we see it seconds later the sky is clear.

>>> Before Lydia walks into Mr. Faucet's room she looks to her left and her face is entirely illuminated by the light coming from his room. In the next shot as she walks in only the left side of her face is illuminated.

>>> When everyone begins running down the hill Melanie is in the middle and Annie is in the back. We're watching continuous action but several seconds later Melanie jumps to the rear without ever being passed by Annie.

>>> As Mitch walks up to the garage door all the birds on the ground that are near him run away and there's nothing to his right except a garbage pail. Then just before he walks through the door two birds appear pecking at his feet.

>>> Early in the movie Melanie makes a right turn as she goes up to Annie's house and we see a white post on the school side of the street and a stop sign on the opposite side. Now as she drives up to the school to check on Cathy we see the exact same spot and there's no stop sign.

>>> As Lydia runs into the house after arriving back home from the scene at Mr. Faucets house there's a brown shade at the top on the window to her right. Earlier after the party as she opens the curtain and looks outside from the dining room, the window has a drape and a curtain and no brown shade.

>>> The blonde girl in the red with the red bows in her hair has a crow on her head that suddenly jumps to her right shoulder between shots.

>>> Melanie walks out from behind the desk and goes into the hallway to get the nightgown to show Annie. No one ever flicked a light switch, but the hallway is now very well lit up.

>>> The flashlight is aiming right at the doorknob before Melanie walks into the room. In the next shot, as she walks through the door (before they turn the spotlight on) there's no light because the flashlight is off and isn't pointing at the doorknob.

>>> As they get to the restaurant door, Melanie is to the right of Mitch, but in the next shot inside the restaurant she walks around him again to get on his right side.

>>> As Melanie holds out her right hand to shield the boy in the white jacket we get a really good close-up of his neck. It was bleeding three shots ago as a crow was attacking him but now it's not.

>>> As Annie and Melanie speak about how they met Mitch, watch the shadow move down the front door. A considerable amount of time has gone by between shots.

>>> As Melanie is inside of the phone booth a man with birds attacking him runs up to her and there is a clear shot of the road extending past the restaurant. When this spot is seen earlier as Mitch and Melanie walk into the restaurant it's entirely different with a bunch of telephone poles on the left.

>>> In the close-up of the orange car there's a perfect shot of the cameraman in the bumper as the gas hits the tire.

>>> When Melanie walks out the door carrying the tray with the tea pot on it you can see a reflection of the stage lighting for the entire shot.

>>> When Cathy brings a pot of coffee into the dining room, you can see several bright studio lights reflected in it throughout this scene, and you can also briefly see the reflection of someone's arm moving about on it.

>>> At the children's party, when the birds attack, you can see a child roll under the table with the cake and other party snacks on it. The birthday cake swaps ends with the bowl of drink a few shots later, with nobody re-arranging it.

>>> As Melanie starts off across the bay we see the boat keeper watching her from the ladder. A few seconds ago there were lobster traps piled all around and above the fence behind him.

>>> After Mitch runs to Annie and Cathy there's a fake movable bird behind the real bird to the right of the swing. It's gone when we see Mitch carry the little girl into the house.

>>> A blond boy in a light brown shirt is attacked by a crow and goes from having no blood on his neck to having a lot of blood smeared on his neck between shots.

>>> When Jessica Tandy walks into Mr. Faucet's house everything is in perfect shape except a couple of broken cups, and there's not a dead bird in sight.

>>> Melanie's car changes positions from the time she parks near the front steps of the school. As Melanie walks out of the school to sit by the monkey bars to when she runs back to the school, and then when the children run out of the school.

>>> As they look across the bay at Mitch's house, the store manager changes position between shots. He moves closer to Melanie as he asks her if she wants him to order a boat for her.

>>> The signature on the card that Melanie signs to Cathy in the close-up on the hood of the car is different when she leaves it leaning on the birdcage at Mitch's house. The "Y" at the end of her name is different on the two envelopes.

>>> As Melanie drives up the main street of Bodega Bay a kid on a bike appears riding behind her between shots. He wasn't there in the previous shot when they show her behind the steering wheel and we can see back behind her car.

>>> As the school children are running down the hill a white fence appears between shots in the background on the right of the screen.

>>> In a close-up of Melanie in the phone booth after a blue and white car crashes into the orange car look at the left side of the screen. You'll see the stop sign that the blue and white car just knocked over back up where it was seconds before.

>>> The windshield of a blue and white car that crashes into a stop sign gets broken on the left side. In the next shot as Melanie looks at it up close from the phone booth it's not broken.

>>> In two of the shots inside the cream colored car right after Melanie blows the horn either wires or a visual artifact from the superimposing process distinctly appear outside of the rear right window.

>>> As Annie opens the door and finds the dead bird on the floor, the background across the street changes from of a very dark house with two lights on to a moonlit road between shots.

>>> As Mitch and Melanie walk down the hill he's behind her and they're not touching. In the next shot he has his left hand behind her.

>>> Some of the children that are running in front of the superimposed background were never in the classroom. For example the blonde girl in the blue and white sweater in the middle of the second shot and the girl in the green sweater in the center of the third shot were not there.

>>> When Lydia says to Melanie, "Do you think Cathy's alright at the school?" the two pictures hanging above her head disappear the next time we see her.

>>> When Melanie shows Annie the nightgown she bought, there's a box directly behind Melanie's brandy glass. Now it's silver, but before it was turquoise.

>>> As Melanie and Mitch walk down the hill Annie and Cathy are standing in the middle of the yard with two other children between them and the lounge chair. In the next shot as we see Lydia carrying the cake, the two children disappear and Annie and Cathy have moved to the left closer to the door.

>>> As Melanie, Mitch and Cathy get into her car to leave the school, Annie's red mailbox can be seen out on the road behind them. In the next shot of them inside the car driving away the post is there but the red mailbox is not on it.

>>> In her room as Melanie walks past the mirror the first time there is nothing on the upper wooden ledge in front of the glass. As she walks back from the window there's plenty of stuff there.

>>> As Lydia looks at Melanie and Mitch walking down the hill, the large piece of molding in the corner between the door and window disappears between shots.

>>> After finding Mr. Faucet's body, Lydia gets back in her truck through the passenger side door. Notice that the window is rolled up and the side vent window is shut tight. Seconds later we see her inside the truck with the window rolled down and the vent window tilted open.

>>> As Annie says to the students, "All right children now quiet," her lips do not match what she says. This continues before she says, "Miss Daniels" and her lips move and nothing comes out.

>>> The book on the table to the left of Melanie's brandy glass has been made to look as though someone has been reading it. When we first see it the cover is closed now the cover looks as though it's been thumbed through even though no one touched it.

>>> After Melanie signs the card to Cathy she never puts her left glove back on. We're able to see her drive down uninterrupted to the boat and she never puts it on, but when she walks out of the car to the boat it's back on.

>>> After Mitch ties the shutter closed both sides of the window look identical with each shudder being seen through the window, but as he walks back into the living room just before the lights go out the left shutter is the same and the right shutter is black.

>>> As Lydia looks through the window of Mr. Faucet's kitchen there is a distinct pattern on the wall to her left. As she comes through the door the pattern on the wall is different and she's in a different room.

>>> The lamp over the dining room table, when Melanie brings Cathy back from the bathroom, is not this same lamp that was there as they were listening to the television report. Before it had a glass bottom and now the entire bottom is made of metal.

>>> As Lydia carries the birthday cake out from the house the position of the vine growing on the pole on the right jumps from right to left between shots.

>>> As Melanie runs to Annie in the classroom and says, "Close that door quickly," all the children's jackets and sweaters and everything on the bench below changes between shots.

>>> At Mr. Faucet's house, both doors that Lydia walks through are blue but after she walks in the door is white.

>>> After Mitch rescues Melanie from the phone booth he places her to the left of the front door of the restaurant as he reaches to open it. In the next shot their positions change and she is in front of the door going into restaurant.

>>> As Melanie talks about renting the apartment Annie's hair changes slightly between shots. Two little pieces of hair stick out right by her left ear that weren't there in the previous shot when she opens the door. Annie's hair changes in other consecutive shots throughout the film.

>>> As they go up to the restaurant to get help Melanie says, "I had a booster before I went abroad last May" and the background changes abruptly between shots.

>>> When we first see the table with the food on it the sandwiches in the middle are piled up in interlocking stacks of three with one more pile of three or four sandwiches rising in the center. When we see the sandwiches again up close as Mitch brings the little girl into the house, they are neatly stacked above each other though not interlocking as before and the middle pile is not there.

>>> After Melanie hangs up the phone she sits and ponders whether to go to Cathy's party, on the desk to the left of the phone is the cigarette lighter that Annie left there before after she lit her cigarette. Next to it is a pack of cigarettes that she didn't leave there before. If you look closely earlier as she takes the cigarette out of the pack in the left pocket of her nightgown the lighter is in her right hand, the cigarette in her left and the pack stays in her pocket.

>>> As Melanie stands in front of the pet shop and watches the birds flying, more time passes than the two seconds implied. The kittens in the right window go from playing to sleeping between shots and a grey kitten appears in the window that wasn't there before.

>>> At the party Melanie grabs a girl from the birds, but when they all run into the house Mitch is now carrying the same girl.

>>> When Melanie is walking up to the counter in the bird shop she has a black purse in her hands. In one shot she is walking to the counter with her purse in her hands, but in the following shot, her purse is laying on the counter and is now taking off her gloves.

>>> Mitch puts the glass of brandy up to Melanie's lips and we see the brandy touch her upper lip and slosh around but then as he pulls it back there's not a trace of liquid on her lips.

>>> In the long shot as Lydia drives up to Mr. Faucet's farm the small structure in front of the building on the far right has four windows. As she parks the truck, we see that structure only has two windows.

>>> In the scene with the policeman, Melanie suggests that she should stay for the night. Look closely at the mantle above the fireplace to in the right of the picture there is a jar with something sticking out of it. In the previous shot this jar is empty.

>>> Mitch carries Annie's body into her house through the front door, which he doesn't close behind him. In the next shot as he leaves the house it's been closed and he has to open it before he walks out.

>>> When we saw the phone booth earlier in the movie it was sitting on rock now as Melanie runs inside it for protection from the bird attack it's sitting on asphalt.

>>> As Melanie and Mitch look at Annie's body more time elapses then we are led to believe. There's a car parked on the road directly behind them and there are no cuts in the time line of the movie, but ten seconds later we see that spot again and the car is gone.

>>> As Mitch throws logs onto the fire we see the couch behind him and no one is there. In the next shot Melanie appears sitting on the pillows on the edge of the couch.

>>> As everyone runs out of the restaurant, the bushes on the left of the building that were there before are gone.

>>> When Mitch unwraps the cotton to put peroxide on Melanie's cut, the ashtray on the table is empty. Mitch never lets the piece of cotton out of his fingers until he has Melanie hold it on her head, and no one else touches the cotton on the table, yet near the end of the scene another used piece of cotton appears in the ashtray.

>>> A guy in the blue and white car that comes crashing towards Melanie in the phone booth throws a bird out of his driver side window. In the next shot as he fends off several other birds the window is shut. Then when he crashes into the orange car, it's open again.

>>> During the bird attack Melanie crushes the shade on the lamp in the corner. Several shots later it looks almost like new.

>>> Earlier when the birds come out of the fireplace Mitch puts his plate of food down on the table in front of him. Later when he turns the table over, the plate of food is not there.

>>> After the gull hits her in the head, Melanie says to Mitch, "Yes, I think so," but her mouth does not go along with what she's saying.

>>> As Melanie speaks to the pet shop cashier she holds her head to the left. In the next shot she's looking straight at the cashier.

>>> 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.

>>> As Melanie places the card for Cathy on the bird cage one bird appears on the lower perch that wasn't there before. In the next shot it disappears again.

>>> They use a different overdubbed tone for the bell on the door of the general store when the manager opens it. Before as Melanie walked into the store we heard the real sound.

>>> As Melanie opens Mitch's front door, her pocketbook is strapped around her wrist. In the next shot, as she comes through the door, the pocketbook is up around her forearm.

>>> As Melanie gets back into the boat she places her pocketbook in the back with the latch facing her. In the next shot as she watches Mitch on the shore the pocketbook is reversed and it stays that way until she gets out of the boat after being hit by the gull.

>>> As Annie goes across the room to get an ashtray, you can see that the next room is pitch black. In a previous shot when she went to get the brandy it was lit up and she never touched a light switch.

>>> The aerial shot of the fire is wrong. The two cars parked across from the exploding orange car are green on the left and white on the right. In the aerial shot they're both black.

>>> As Mitch runs to get the hammer and nails for the front door notice the top leaf of the fern plant to his left. It gets rearranged in the next shot, as Melanie watches him, with one fern sticking out from the middle that wasn't there before.

>>> The top of the bird cage that Melanie brings to Mitch's apartment has 24 rungs but when we see it again on the floorboard of Melanie's car it has only 12 rungs.

>>> As Melanie approaches the cashier, there are several birds up high in the cage directly behind the cash register that aren't there in the next shot.

>>> After Melanie walks into Mitch's house and puts the cage down we see that there are no birds either on the perches or in the bottom of the cage.

>>> As Melanie starts off across the Bay, we see two boats and a red building to the left of the matte drawing that weren't there when she approached the boat keeper.

>>> Lydia puts her plate of food on the table in front of her as she gets up. She never touches it again, but later on in the bird attack the plate of food has been moved onto the couch near Melanie's plate in front of the red pillow.

>>> When Melanie pulls up to the school to check on Cathy we hear voices of the children singing inside and a crew member's reflection is seen moving in the car door as she opens it.

>>> Just before the lights blowout Mitch comes back into living room and there is a red ottoman to the right of the green chair that Lydia and Cathy are sitting in. A few moments before, all three of them just walked through that spot when they were hiding by the bookcase and it wasn't there.

>>> When Melanie first walks into the classroom she sees five rows of students. Later when the students are about to leave there are only four rows of students, now ending with the boy in the plaid shirt (closest to the camera), in the front. The row on the left has been removed so the camera can pan from left to right in the side shot.

>>> As Melanie runs into the phone booth from the restaurant the four poles that were around it when Mitch walks her to the restaurant after the gull attack have disappeared.

>>> Melanie has no problem taking the letter for Mitch out of her pocketbook as she places it on top of the bird cage. The crew put adhesive tape on the back of it, so she can push on the letter with her thumb to keep it in place for the close-up.

>>> When Annie gets up and says, " I think I'll have some of that" her cigarette is half gone with a long ash on it. In the next shot as she fiddles with the brandy bottle her cigarette is brand new.

>>> A large equipment shadow can be seen on Melanie and Mitch as they stop to look at the people in the restaurant hiding in the corner.

>>> When Mitch picks up the mirror his right hand grabs one of the umbrellas hanging on the right of the mirror. It in the next shot the umbrella has disappeared.

>>> As Melanie parks in front of the general store stage lighting and the reflection of a crew member can be seen in her car door as she opens it.

>>> As Melanie approaches Doodles Weaver to get her boat there are no lobster traps where he is standing. Two shots later she climbs down the ladder and there are two traps to the right of the ladder.

>>> Melanie is only in Mitch's house for one minute, but the tide has already gone out enough to beach the other boat tied to the dock.

>>> As Melanie signs the card to Cathy there's a guy in the phone booth to the left of the Bodega Bay bar who's not there in the next shot.

>>> As she sits and listens to Melanie talk to Mitch on the phone Annie's right hand changes positions between shots. She starts to move it up, then in the next shot it's already leaning on her left hand.

>>> As the birds sit on the monkey bars outside the school we hear the sound of many birds flapping their wings for several seconds before any take off.

>>> As Melanie walks into Annie's apartment we see the front door behind here to the left. Before the door had a shade on top of it, this door is different and doesn't have a shade or a space for it between the curtain and the window.

>>> Before Melanie starts off across the bay we hear the boat keeper start the boat's engine. But this is only an over-dub, the engine's not really running as there's no turbulence behind the boat like in the next two shots.

>>> The overdub of Melanie playing piano in the living room is the same volume when the scene changes to a different room as Mitch and Lydia talk inside the kitchen.

>>> As Melanie approaches Mitch's dock, a yellow pole extends from the far left side of the dock to the brown pail in the front of the dock. In the next shot, as she walks on the dock, the pole is gone.

>>> As they talk Annie walks over to sit behind her desk and we see a quick shot of her hallway. Look closely at the mirror hanging on the far wall and you can see the quick reflection of the studio equipment in it.

>>> When they show the perspective of being in Melanie's driver's seat looking out the windshield we don't see Melanie's legs as you would expect, but a mechanism that allows someone to steer from the passenger seat so the camera has an unobstructed view of the driver's seat.

>>> After finding Mr. Faucets body Lydia gets back in her truck and you can see the reflection of a crewmember wearing headphones in the lower right part of the windshield.

>>> At the end of the movie when they're walking out of the house you hear a door open, but the doorway is empty - it's just an open space, with no door.

>>> When Melanie asks Annie if she can use her phone the reflection of a crew member behind her can be seen moving in the window of the house across the street.

>>> When Mitch is closing the shutter after the birds have started to fly into the window you can visibly see blood on the shutter, yet when they switch cameras and he shuts the shutter the blood is gone.

>>> The crew rigged the explosion to start from under the car and not from the lit match which isn't thrown anywhere near where the explosion originates.

>>> As Mitch hammers the mirrored cabinet to the front door they overdub a second hammer sound over the actual sound to make it more intense. If you listen closely they don't get them all right and they miss the very first swing.

>>> After Melanie delivers the lovebirds to the Brenner home, the camera follows her as she walks back along the jetty to her boat, with the dolly track clearly visible.

>>> When Melanie and Mitch are together on top of the bluff at the children's party, each person casts two sets of shadows.

>>> When Melanie is climbing upstairs we see her shadow on the wall, even though the only light source is the flashlight she is using.

>>> Many times, the car is on the wrong side of the road.

>>> In some shots, the car being driven by Melanie has no gear shift. The engine shifting sounds are obviously from a manual transmission, but she never makes a shifting motion with her right arm.

>>> Just before the gas station explosion, gas is shown running into the left rear tire of a red car. The next shot of that car, taken from a little farther back, shows gas running near the tail of the car but the area around the tire itself is completely dry.

>>> When the children are running from the school while being attacked, the birds attacking them cast no shadows.

>>> After the seagull attacks Melanie on the boat, her hair appears disarranged. The next shot shows her hair neatly arranged again.

>>> When Melanie brings Lydia some tea, while Lydia is in her bed, Lydia's hair first looks disarranged. Then her hair is neatly arranged, the next shot it is disarranged again.

>>> When Annie Hayworth is telling the students to quietly exit the school and return to their homes, the speed of her voice and the movement of her lips do not match.

>>> When Melanie enters Bodega bay school for first time, we can hear the child singing even when they turn around to see Melanie, and are clearly not moving their lips.

>>> When Melanie gets out of her car and approaches Mitch's front door when she first arrives for dinner, she's wearing no glove on her right hand. In the next shot she turns to greet the family approaching from the yard, and is wearing both her beige gloves.

>>> When Melanie Daniels is driving the lovebirds to Bodega Bay you can hear the car changing gears from a manual transmission. But the gear shift lever is reflected on the floorboard of the car and has no hand on it and never moves, and it appears to stay in neutral.

>>> When Melanie is driving to Bodega Bay, her car is heard accelerating, but her foot is flat on the floor, not on the pedal.

>>> When Melanie is lying unconscious after the birds attack her, Mitch gives her some brandy to 'alleviate' the pain. However, in no way should he be giving her this because any liquids given to an unconscious person could cause them to choke, and they should especially not be given any alcohol.

>>> When Mitch tries to close the window shutter as the birds attach, his hand is extremely bloody. However once the window is closed, there is much less blood showing.

>>> At the end of the movie when Mitch gets in Melanie's car to take it out from the garage, he closes the window of the car. After a minute when he gets of the car in front of the garage the window is open.

>>> When Melanie was driving her car to deliver the lovebirds, there's a shot of the front of the car and the camera is reflected in the window.

>>> While in the car when the crows attack the school, Melanie's left hand is by her head when she beeps the horn. In the next shot, her hand is on the steering wheel while beeping the horn, the next shot her hand is by her head again.

>>> In the phone booth, Melanie has her back on the phone. But in the next shot, she is by the phone not front.

>>> After two birds break the glass on the phone booth, it appears that the glass isn't shattered when Melanie is grabbed out of it.

>>> When the gull attacks Melanie, at the 24th minute, we see Mitch jumping from the pontoon twice: once from Melanie's point of view, then a second time from the pontoon. And Mitch's attitude is clearly not the same in the two shots.

>>> There is an obvious synchronized backdrop used when Melanie is crossing the bay in the little motor boat to see Mitch; same thing on the return trip.

>>> When Melanie slaps the hysterical woman in the restaurant, the close-up of Melanie shows her using her right hand. However, the reverse shot of the hysterical woman shows what would be Melanie's left hand.

>>> In the scene where Melanie comes to Annie's house to spend the night, they hear a thud at the front door and open it to see what caused the noise (a seagull had crashed into the door). In the first shot, where they open the door, the view from the door is a house across the street. In the next shot, where they are discussing the fact that there is a full moon that night, the view from the door is rolling hills - no house.

>>> When Mitch carries Annie's body into her house, the front door is already open. We cut back to Melanie and Kathy, then cut back to the front of the house--where the door is shut. Mitch opens the door, walks out, and shuts it behind him. Shutting the door behind him while carrying Annie's body is not only impractical, but as the door swung outward, would be next to impossible.

>>> Als Marion Crane ihre Sachen packt und die Kamera auf das Bett zufährt, wo das Geld liegt, fällt der Schatten der Kamera auf die Bettdecke.

>>> Als man den Stuhl im Obstkeller, auf dem die Mutter sitzt, von hinten sieht, ist es ein Stuhl mit 4 Füßen, aber als die Mumie berührt wird, dreht sie sich wie auf einem Drehstuhl.

>>> Marion (Janet Leigh) zerreißt einen Zettel, auf dem sie etwas ausgerechnet hat. Sie wirft die Papierschnipsel in die Toilette und man sieht ganz deutlich, dass alle Schnipsel in die Toilette fallen. Als sich aber später Marion's Schwester Lila (Vera Miles) in dem Badezimmer umsieht, findet sie einen der Schnipsel.
1. Wie schon gesagt, man hat gesehen, dass alle Schnipsel in der Toilette gelandet sind.
2. Norman (Anthony Perkins) hätte besagten Schnipsel spätestens beim Badezimmersäubern gefunden, als er alle Spuren beseitigt hat. Er musste ja schließlich einen Mord vertuschen, also wird ihm sowas ja wohl nicht entgangen sein.

>>> Norman hat sein "Spannerloch" mit einem Bild verdeckt. Er hebt es leicht an und nimmt es dann ab. Es scheint also an einem Nagel zu hängen. Anschließend ist  jedoch kein Nagel zu sehen.

>>> When Marion is driving her car through the night, she keeps looking at her speedometer. You can clearly see that the gear shift lever is in "park" as she is driving.

>>> When Norman picks up Marion's body to carry it to his trunk, a bra is visible through the shower curtain. Gus Van Sant included this goof in his 1998 remake.

>>> When Janet Leigh is shown lying dead on the floor of the shower, there is a close-up of her open eye. The pupil is contracted to a pinpoint (obviously due to the bright lighting) where it should have been dilated. After the film was released, Hitchcock heard from several ophthalmologists who pointed this out and suggested he use belladonna eyedrops in the eyes of "dead" people in future films, as the chemical prevents the pupils from contracting.

>>> When Marion and Norman are talking after he has brought in some sandwiches, Marion tears the same piece of bread 3 times on different occasions.

>>> While Janet Leigh is being stabbed to death by Mother, as Janet turns around in the shower, it is possible to see part of the moleskin that Janet wore for the scene for a split second.

>>> When Marion arrives at the car dealership, the salesman sees her and starts walking towards her. If you look carefully, there is a wire trailing out his trouser leg, most likely for a hidden mic.

>>> Mother comes out of her room and slashes Arbogast with a knife. After he falls down the stairs, Mother comes down and stabs him again. But when she does this, her knife has no blood on it.

>>> In the scene where Marion's boyfriend and sister visit the Sheriff and his wife at home, there is a camera shot where you can see that living room background scenery ends and there is no ceiling.

>>> At the end of the film in the Sheriff's office, you can see a wall calendar with the date on 17. The film started on December 11th - Marion absconds with the money on the same day. She slept the first night in her car, then drove all day Saturday before arriving later that night at Bates motel, she was killed the same night. When Arbogast arrives we learn that Marion has been missing for one week, it is now Saturday, Sam and Lila visit the motel to look for Arbogast, (who by now is dead) and they go to visit Sheriff Chambers later that same evening. They meet the Sheriff the following Sunday morning outside the church, it is on the same day that Norman is captured and taken into custody, now the date on the wall calendar should have shown 20 and not 17, the story has lasted for a total of nine days and not six days.

>>> The towel Norman takes off the wall to dry the tub with is white, when he puts it on the back of the toilet it is dark in color and when he throws it into the bucket it is white again.

>>> When Marion steps into the shower, we can hear (not see) her unwrap a bar of soap and throw the wrapper on the floor of the shower. But when Norman is cleaning the bathtub, after Marion is killed, the wrapper is no where in sight. (Timecode available)

>>> Norman brings a tray of food to Marion, when she says "So long as you've fixed supper we may as well eat it," watch how her folded arms change position from hands tucked underneath, to hands on top of her arms.

>>> When Marion arrives at the Bates motel, she sounds the car horn for the first time, the windscreen wipers are switched on. She gets out of the car, looks towards the old house, then goes back to the car, as she sounds the horn for the second time the windscreen wipers are now switched off.

>>> When Marion first gets ready to get in the shower, the camera is panning back over the bed to show the newspaper with the cash wrapped up in it. As the camera pans back, one can clearly see the camera's shadow on the bed as it pans back.

>>> When Norman is parking Marion's car, he does so by reversing with right hand lock. But when he drives off, he does so with left hand lock without having turned the steering wheel.

>>> After Marion has been murdered there is a close-up of her face. If you look down to her neck you can see her pulse.

>>> When Marion is buying another car at the dealership, in the background you can see the same extras walking in different directions on the sidewalk.

>>> When Norman carries Marion's dead body out to the boot of the car, the water on Marion's bonnet changes between shots. In some shots there is water, sometimes there is no water.

>>> After Marion's sister and boyfriend look through the Number 1 bathroom and find the ring on the toilet, they turn off the light. On the wall behind them you can make out a square beam of light, but no other lights are on in the cabin.

>>> In the shower scene, Marion Crane's palm looks water wrinkled as if she's been in the shower for quite a long time even though she was only in for a few moments before Norman stabs her. Also, when Norman drags her out of the bathroom, Marion's legs are stiff and together and she has her toes pointed.

>>> As the camera zooms into the hotel window, you can see a shadow on the blinds. But in the next shot, the shadow is now longer (even though it's supposed to be in real time).

>>> After seeing Marion's dead body in the bathroom, Norman accidentally knocks down a framed picture of a bird (with the picture facing up and it is a few inches away from the wall). But when Norman is spreading the shower curtain on the floor, the picture has changed position (with the picture now facing down and it is against the wall).

>>> In the scene after Janet Leigh is killed Norman goes into Cabin one and starts mopping. He puts the mop in front of the bed for a second. Through the mirror you can see the mop fall when he put it down, but when he goes back to get it, the mop is up again.

>>> The state trooper asks Marian for her "license," but not the registration. Then he looks at the car's plate and verifies the number. But it would be on the registration, not on her license.

>>> When Marion steps into the shower and pulls the curtain shut, if you look closely, you can see a rubber bath mat with holes in it. After this shot, the mat is not seen again (during the murder or the clean-up).

>>> In the Bates Motel drawing room with Norman, Marion tears the same piece of bread three times down the middle.

>>> As Marion approaches the restroom at California Charlie's used car lot, the door hinges on the left with the doorknob on the right and has dark (painted?) glass in the upper half. In the interior shot, the hinges and knob are just the opposite and the door is a solid slab. In the exterior shot as Marion exits the restroom, the door is solid with no glass, and hinges on the right and latches on the left, consistent with the interior view.

>>> At one point during Marion's night-flight from Phoenix toward Fairvale in her black 1956 Ford, there is a point-of-view shot over the hood of the white 1957 Ford that she doesn't have yet. She gets the newer car from California Charlie the following day.

>>> The hood of Marion's car is alternately wet and dry between shots as Norman carries her body out to it.

>>> When the car salesman first moves towards Marion in the car lot, his mic cable is visible, trailing out from his trouser leg.

>>> When Marion drives away from the police officer, the unmistakable sound of a 1957 Ford starter can be heard, but she doesn't reach for the key (which is left of the steering wheel on the dashboard), or make any visible movement to use the shift lever.

>>> When driving, Marion grasps the steering wheel and, while going straight, at times has the spoke of the wheel pointed to the right and at times to the left.

>>> While driving in Bakersfield, no car dealership can be seen through the windshield as Marion turns off a major road onto a wide, unlined street. The next exterior shot shows her car turning off a four-lane, lined street into California Charlie's used car lot.

>>> In the shower, Marion's hand changes from thumb down to thumb up when she grabs the shower curtain and then pulls it down

>>> The shadow of the camera falls on the lady examining the pesticide can in Sam's hardware store.

>>> When the police officer backs in behind Marion's car on shoulder of the highway, no tire tracks from his vehicle are visible in the soft dirt.

>>> At the car dealership, the same extras (people on the sidewalks) are seen repeatedly, walking in different directions

>>> In the hotel at the start of the film, Sam sits with his arms outstretched. In the close-up of Sam, the towel has moved across to his right though he hasn't yet moved his arms.

>>> When Norman is making his way from the house to the hotel office to greet Marion, it is pouring rain outside. However, in the next shot when he's in the hotel office his suit is completely dry.

>>> When Marion gets in the shower, she unwraps a bar of soap and drops the wrapper in the tub. When Norman is cleaning up the tub, no wrapper is ever seen.

>>> When Marion first gets out of her car and meets the salesman at the used car dealership, a crewmember is reflected in the car door. Part way through the shot, he suddenly crouches down.

>>> In the very beginning of Psycho, we are given a date of December 11th, mid-afternoon in Phoenix, Arizona. However, throughout the Phoenix sequence we see all of the characters acting as if it is sweltering hot outside. Marion's boss even has the air conditioning going in his office. Anyone familiar with Phoenix in December would know that it is one of the coldest months there.

>>> When Marion is driving to the motel in the rain, the camera zooms in on the Bates Motel sign and just to the right you can see a spot light on a stand that illuminates the motel.

>>> When Marion is lying on the floor with the ECU zoom out on her eye, her eye twitches a few seconds before the ending of the shot.

>>> In the third scene, after the hotel and the office -- while Marion is in her apartment, dressing up before going away with the money she stole from her boss --, you can first see her in the background putting on her dress, with the bed down in the forefront. Then the camera closes in on the envelop containing the partially visible money bills. Just before the camera stops on a close up of the envelop, a shadow is briefly seen on the right hand side, on the bed cover. This is ONLY visible in the VHS versions on the film -- not in the newer letterbox versions on DVD, where the upper and lower parts of the frame were cropped a little.

>>> When Lila and Sam are walking from their motel room to the office, the reflection of a crew member can be seen in the window between rooms 1 and 2.

>>> After Detective Milton Arbogast has fallen down the stairs and is being stabbed repeatedly, each time the knife comes up we can see no blood on it.

>>> In the shooting scene in the Mount Rushmore cafe, a boy in the background puts his fingers in his ears, because he knows the gun is about to be shot.

>>> When in James Mason's house in South Dakota, Cary Grant writes a message to Eva Marie Saint on a matchbook from which several matches are missing. When Ms. Saint subsequently reads the message the matchbook is full.

>>> In the scene in which Cary Grant is attacked by the crop duster, he is supposed to be between Chicago and Indianapolis. Unfortunately, northwest Indiana looks nothing like this. The scene in the movie has miles and miles of treeless landscape. Even in the flattest farmlands of Indiana, there are many visible groves of trees.

>>> Cary Grant is crouching in his bunk bed in the train. The lights of the studio get reflected on his broken sunglasses when he shows them to Eve.

>>> When the plane hits the gas truck and it catches on fire, instead of getting out on the passenger side, the passenger crawls out the driver's side.

>>> In the scene where Cary Grant is hanging off Mount Rushmore, and Eva Marie Saint falls and grabs Cary's back pocket, she rips it but in the next scene the pants are un-ripped.

>>> In Eva Marie Saint's hotel room, after the crop-dusting, Cary Grant attempts to copy a note she has removed from a pad, by scratching with a pencil point - horizontally. In the close-up of the note, it has been scratched vertically.

>>> The first scene that they show of the train going up the Hudson River is wrong. The hills in the background are much further up the river past Croton NY. When they are eating the train is back down near the wider part of the Hudson around Tarrytown NY.

>>> In the last scene before Chicago the train is going through the tunnel at Breakneck Pass north of Cold Spring NY. When they're going back home at the end of the movie theoretically they should be going the same way but they're not. The final tunnel shot in North by Northwest is the Southern Pacific railroad tunnel between Santa Susana and Chatsworth California.

>>> In the very first scene when the train pulls out of Grand Central Station you can see that the sun is setting. Then when they sit down to eat it's the middle of the day again.

>>> When Eva Marie Saint grabs the statue from James Mason and bolts, the spies chase after her. They had no way of knowing she would do such a thing, and yet they are suddenly equipped with long, heavy-duty flashlights.

>>> When Eve is being led out to the airplane, she bolts when two shots are fired from inside the house (presumably Anna firing at Thornhill, not realizing that the gun was loaded with blanks). Moments later, she jumps into a car driven by Thornhill, and they escape together. There is no way Thornhill could have gotten there that fast, given that he was in the house only seconds earlier.

>>> While Thornhill and his mother are investigating Kaplan's hotel room, he decides to try on one of the man's suits from the closet to see if he and Kaplan are similar in stature. He tries on a navy or dark colored suit coat and then holds the pants up against himself to check the length. In the close up of the trousers, they are now a light gray in color. The camera returns to a full shot and, once again, he has the darker trousers in his hands. You can also see the light gray suit in the closet behind him.

>>> Near the beginning of the film, as Thornton has arrived at The Plaza and is opening the door of the taxi to exit it; visible through the rear window is a red and white Ford taxi, parked behind Thornton's taxi. Instantaneously, in the next shot taken from the sidewalk, he is shown completing his exit from the cab. Now however, there is a light colored Dodge taxi cab parked directly behind them.

>>> The villains try to kill Cary Grant by getting him drunk and sending him off a cliff in a white Mercedes. He manages to get back on the road and they follow him in a Cadillac limousine. Cary passes a parked police car which gives chase. He brakes to avoid a bicyclist and the police car rear-ends the Mercedes. Immediately a blue 1941 Ford rear-ends the police car. Where did it come from? It would have to have been ahead of the Cadillac and very close to the police car to do so, but it doesn't appear until the moment of impact.

>>> Thornhill & the "Professor" have a chat on the airport tarmack, in which it's revealed to Thornhill that Eve is a secret agent and in danger. At that moment the camera dollies in on Thornhill for dramatic effect. As it does, the distant airplane in the background gets closer very nearly as fast as does actor Cary Grant, revealing that the background in this scene is, in fact, a rear projection on a screen just beyond the actor.

>>> In New York, a newspaper headline reads, MANHUNT ON FOR UN KILLER, with a smaller headline below reading "Nixon promises West will remain in Berlin". The next night Eva Marie Saint reads the crop-duster plane story in the Chicago Sun-Times. Since the Sun-Times was a morning paper and the accident occurred in the afternoon, she must have been reading the following morning's edition. But a smaller headline underneath carries the same story: "Nixon promises West will remain in Berlin"; two days later, it's old news.

>>> As Thornhill backs away from murdered Townsend, the knife in his hand changes from point down to point up.

>>> When the plane crashes into the truck, the bystanders walking towards the scene have shadows, which change angles as you see the next shot. They took them both in the morning and the afternoon.

>>> While Roger and Eve converse before dinner on the train, Roger's glass mysteriously changes places several times. When shot from behind, he's holding the glass; from the front, it's on the table.

>>> Near the end of the movie when Cary Grant says, "Come along Mrs. Thornhill." If you read lips he's actually saying, "That's it."

>>> When Cary Grant arrives at the hotel in Chicago, he sees Eva Marie Saint enter an elevator. By looking at the indicator light he sees that she has gotten off on the fourth floor. He would have had to have binoculars to see the elevator indicator light from where he was standing.

>>> At Prairie Stop 21, after the second man arrives, shots on Thornhill show that his left arm is bent (the sleeve is folded), but the wide shot on both of them shows his arms at his sides.

>>> When Thornhill and Kendall reunite after the shooting, they are obviously on a soundstage and not on location in the wilderness. There is absolutely no background noise, which is impossible in the outdoors: leaves rustling, birds calling, water trickling, wind gusting, etc. prevent the complete silence depicted by the movie. The quality of the actors' voices also sounds like indoors rather than an open space.

Mistake Continuity: When Thornhill is talking to the maid in Kaplan's hotel room, right after she identifies him as Kaplan, his arm changes from bent over his stomach to straight at his side. (Timecode available)
votemap

>>> Thornhill and his mother go to Kaplan's hotel room, room 796, to check the place out. There are two telephones in the room and both phones have old-fashioned non-coil cords connecting the phone and the handset. But when Thornhill rings the buzzer to summon the maid you can see that the phone suddenly has a more modern coil handset cord.

>>> The date shown on the newspaper after Cary Grant is accused of stabbing the diplomat at the U.N. is Nov. 25, 1958. The subsequent outdoor scenes clearly show leaves on the trees and people dressed for warmer weather.

>>> When Cary Grant writes a message on a matchbook and Eve Marie Saint reads it, the number of lines in the message changes. He writes 3 lines, she reads 4 lines.

>>> When Cary Grant's character, Roger Thornhill arrives at the UN building in search of George Kaplan we see his shadow fall onto the door of the cab, as if the sun is behind him. But when you look at the pedestrians on the sidewalk, their shadow falls in the opposite direction. Simple mistake to make when using 3 point lighting in a studio environment to produce a rear projection process shot.

>>> When Cary Grant and his film-mother enter the elevator at the Plaza this is filmed through a glass-door and you can see the reflection of a crewmember in a white shirt who is crouching below or next to the camera.

>>> Cary Grant arrives at the spies' house in Rapid City by taxi. Yet when he and Eva escape, they suddenly have a car at their disposal.

>>> Before the famous attack by a crop spraying aircraft, Cary Grant is set down in the middle of nowhere from a Greyhound Scenicruiser. Another bus, a Flxible BR-29, also stops briefly. The soundtrack of the Scenicruiser's engine is re-used for the Flxible.

>>> Cary Grant, running through Grand Central Station after fleeing from the UN Building, has brown shoes, then black, then brown.

>>> His suit changes colour as he is running from the aeroplane. First blue, then brown, then back to blue.

>>> The top and back of Mount Rushmore looks nothing like they portray it in the final scenes of the film. This is a mountain, and they would need climbing equipment to get to the top of the mountain. Also there are no trees at the top, and the is a vault at the top of the mountain, behind the monuments. This vault was originally planned to be used as a museum, but Congress withdrew funding because of World War II, and the museum was never completed.

>>> Cary Grant steals a redcap's uniform while he was sleeping, implying that the redcap had been on the overnight run. Redcaps didn't ride the trains; they worked in the stations.

>>> When Eva Marie Saint is going out to the aeroplane near the end of the film, it is dark as they walk away from the house, but by the time they reach the plane it is suddenly daylight.

>>> In the Chicago P.D. patrol car after Thornhill's arrest at the auction house, the cop on Thornhill's right forgets to lean as they simulate a turn. Cary Grant can be seen giving the errant actor a poke in the arm.

>>> Position of the wine glass during the dinner on the train.

>>> Escaping from two thugs, Thornhill dashes out of the Plaza, grabs a cab, and it drives off. The thugs get into the next cab and go after him. From inside his cab, Thornhill then looks back at the hotel but the thug's cab is not there. It should be just pulling away from the curb.

>>> When the crop-duster plane hits the tanker truck, the truck's shadow on the road extends several feet across the center dashed white line. In the next shot, the shadow reaches only a few inches across the white line, without the truck having moved at all.

>>> The angle of the driver's side windshield wiper on the tanker truck (during the shot when the truck's hit by the crop-duster plane) is different from the angle in the next shot - even though the wipers aren't turned on.

>>> Many backdrop tops and light reflections.

>>> Wobbling trees as the ambulance passes.

>>> Inconsistent shadows during the crop-dusting scene.

>>> During the climactic Mt. Rushmore scene at the end of the film, the top of the mountain set, and equipment, are clearly visible for a number of seconds.

>>> Following the crop dust scene, Roger goes to Eve's hotel room. She makes drinks for them. His is "scotch, water, no ice." She makes 2 drinks, putting ice in hers - which is on her right. When she finishes, she picks the one with the ice (hers) up with her right hand, and Roger's with her left. She then turns and walks toward Roger. She hands him his drink with her right hand. Hers, with the ice, is in her left hand.

>>> At the Chicago station when Eva tells Thornhill to take a bus to meet Kaplan, in the long shot with the column behind them, the boom mike is clearly visible wobbling above.

>>> After Thornhill approached and conversed with the man on the rural road, the bus stops, picks up the man abruptly without pausing to see if Thornhill also wants to board. Slams the door in his face and departs as if the driver assumes instantly that Thornhill is not a customer.

>>> After Eve leaves her room at the Ambassador Hotel, Thornhill emerges from the bathroom, where he has been pretending to take a shower, and notices a notepad on the night stand. He picks up a pencil and uses the old "rub a pencil over the impression to reveal the note that was written on the sheet above it" trick. He begins rubbing using a horizontal motion form left-to-right, however when the camera switches to an extreme close-up, the pencil is being used in a vertical up-and-down motion.

>>> The little boy wasn't looking at Eve when she drew the gun, hence he shouldn't have known to put his fingers in his ears.

>>> According to Eva Marie Saint, Cary Grant loved clothes and didn't want to see the blue suit from the hotel scene in Chicago trashed from crawling round in the dirt to avoid the crop duster. So, a different suit was used for that scene (which happened to be a different color).

>>> Positioning of the three men and their wine-glasses seated in the banquette when Thornhill joins them, prior to being escorted away by the henchmen near the start of the film.

>>> When Thornhill and his mother are changing elevators you can see a crew member bend over in the reflection on a pane of glass.

>>> When Vandamm's henchmen put the drunken Thornhill into his car, intending him to drive over the cliff, their heads disappear, as the footage of the actors protrudes into the matte cliff background.

>>> Thornhill is taken from Mt. Rushmore in an ambulance with a hatchback-style rear gate, which is the correct rear door for an ambulance conversion of a station wagon. When he arrives in the forest to meet Eve, he emerges from a station wagon with a standard lower tailgate and upper hatch - not an ambulance.

>>> Thornhill's hands jump around on Eve's hair and shoulders between shots in her train car.

>>> When Thornhill is writing the message on the matchbook, it matchbook is approx. half full with the matches concentrated in the middle of the book. When Eve opens the matchbook below, the matchbook is full of matches.

>>> When Thornhill and his secretary are in a cab in front of the Plaza Hotel, a 1958 Ford cab is parked behind them. But when Thornhill exits the taxi, the car behind them has changed to a 1957 Dodge.

>>> Eve's line "I never make love on an empty stomach" is overdubbed with "I never discuss love on an empty stomach".

>>> Every indication is given throughout the film that the action takes place in the summer - the trees in NYC are in full flower, ditto the foliage at the Long Island estate, the Indiana cornfield landscape is scorched, etc. - yet the newspaper which the Professor and his colleagues read recounting the murder of Lester Townsend carries a late November date.

>>> In the opening scene when Thornhill is taking a cab to the Plaza hotel with his secretary, the cab makes a U turn on Central Park South right in the middle of heavy traffic. A NYC Cop can be seen holding up traffic and then letting it pass as they pull in front of the hotel.

>>> In "George Kaplan's" room at the Plaza Hotel, we see a close-up shot of Thornhill pressing the call button for the maid. Visible in this shot is a telephone with a coiled cord. But in all other shots that show that phone, it has a straight, non-coiled cord.

>>> As Thornhill walks along the 20th Century Limited at Grand Central Terminal, he passes a car that's numbered 10006. But after he gets on the train and looks out the window, we see on the adjacent track another New York Central passenger car that also is number 10006. Two passenger cars of the same railroad will never have the same number.

>>> As the plane crashes into the truck, wires are visible on the right-hand side of the screen.

>>> When Thornhill is photographed at the United Nations with the knife in his left hand, Thornhill holds a picture of Vandamm in his right hand. Later, this incriminating photo of Thornhill is seen in the possession of the the ticket seller, with Thornhill holding the knife in his left hand but with his right hand empty.

>>> When Roger is kissing Eve in her train compartment, he removes his hands from the back of her head twice.

>>> The Indiana cornfields are partly harvested, and partly not (it's November) - but there is no evidence of stubble in any of the fields that have no corn.

>>> When Thornhill is with his mother in Kaplan's hotel room, he says, "Ah, well, look who's here... our friend who's assembling the General Assembly this afternoon," instead of "addressing the General Assembly".

>>> When Thornhill runs out of the corn field dust covers his shoulders. There is no dust when he falls under the truck.

>>> As Eve is being led to the plane with the house in the background, the sky appears to be very dark, but when the angle shifts with the plane in the background, the sky appears to be very bright.

>>> The first exterior shot of the train depicts a pink sunset. Yet, it is broad daylight in the following dining-car scene.

>>> The airstrip at Vandamm's place clearly seems to be a gravel strip. Yet, as the plane touches down, a brief tire screech is heard, as from a plane setting down on a concrete or asphalt strip.

>>> Thornhill sees the car with Eve and the others arrive and stop on the same level as him while he's on the observation deck outside the cafeteria at Mt. Rushmore. The parking lot is actually a couple hundred feet below.

>>> At the lodge at Mount Rushmore, the professor enters the lodge only a few moments ahead of Thornhill, yet the shadows on the building are completely different.

>>> As Roger Thornhill and Eve Kendall are walking along the station platform in Chicago, you can see one end of a locomotive, indicated by the short, white horizontal lines. There is a cut to a close-up of Eve's face, and a cut back to them walking again. After the second cut, the side of a passenger car is seen instead of the locomotive.

>>> In the UN stabbing scene, Thornhill pulls the knife from Townsend's back with the blade pointing down. When the camera cuts to a wider shot, Thornhill is holding the knife upright.

>>> In older copies, Thornhill's taxi ride with his secretary is a bit too revealing. At points, you are able to see blue sky above their heads while they're still in the cab. Only their exit from the taxi appears to have been shot using a full-length automobile. This mistake (as well as several others) were apparently fixed when the movie was re-mastered for DVD.

>>> In the struggle on Mt. Rushmore, Eve slips and tears Roger's right back pocket from his trousers. In later shots his trousers are intact.

>>> Roger writes the message on the matchbook in three lines. When it is shown later, the message is written in four lines.

>>> When Thornhill is about to get out of the cab leaving his secretary there, the cab behind is bright orange. After he gets out, the cab behind is a different color and make of car.

>>> When Leonard loses his footing while climbing down Mt. Rushmore, the long shots show him dangling in front of a side of the mountain entirely carved with vertical lines. But in the close-up, his feet are shown dangling in front of bare rock, with the carved lines ending well above his ankles.

>>> When Thornhill escapes from the Mt. Rushmore house and runs over to the black Ford, he is shown opening the car door and just starting to get in while on the soundtrack the sounds of the door being closed and the ignition being turned on are heard.

>>> After the plane/truck incident, the shadows change by 180 degrees between shots of the spectator group and Thornhill driving away with the stolen car.

>>> As the drunken Roger is placed in the car by the kidnappers, waves can clearly be seen crashing into a rocky coast line with a large drop to the sea. The scene takes place in Glen Cove, New York, as evidenced by the police car, but there is nowhere on Long Island that has a coastline like this.

>>> When the Mercedes carrying Roger is balanced on the rocky cliff, the left rear wheel is spinning in the air. Moments later, the car drives back on to the road. In a rear wheel drive car from the 1950's, all of the torque would be delivered to the free wheel, making it impossible for the car to move without being pushed or pulled.

>>> After escaping from the Rapid City hospital, Thornhill takes a cab to Vandamm's mountain retreat. How does he know where it is? He has never been there.

>>> In the final scene, pieces of Madeleine's hair-do come down in the struggle up the bell tower steps. At the top of the tower, before she falls, her hair is in perfect shape again.

>>> At the end after Madeleine falls, the camera pulls away from the church tower. You can see the shadow of the camera.

>>> When Scottie follows Madeleine back to his home and joins her at his porch, Scottie holds the banister on his front porch as he climbs the steps & then moves his arm to his side twice.

>>> When Scottie (James Stewart) visits a bookshop to question its owner, the book display in the shop's window changes between the time he enters and exits the store.

>>> James Stewart sees Kim Novak entering a flower shop by the back door. Watch the shadows on the ground: in the very next shot, when Stewart follows Novak, the shadows are very different.

>>> At the point where Scottie is following Madeleine in the side-street, she enters a building and he follows. When he is inside, in one shot the light reflecting on the door window is white and in the next it is green.

>>> How does it happen that Madeleine/Judy is able to enter the McKittrick Hotel unnoticed by the manager, and leave unnoticed by either Scottie or the manager? So far as I could tell this was not explained by the fact we subsequently learn that she was an actress posing as Madeleine, as there should in any case have been someone in the room when they checked, and her car can't have got away on its own.

>>> In the scene where Scottie is reporting to Elster about his findings, there are ice cubes in their drinks, but in subsequent close-ups, the ice cubes are not there.

>>> In the final scene in the belltower you can see shadows from the surrounding trees. That's because this scene was shot at 3 in the afternoon. They just used a filter to make it look like it was night.

>>> When Mr. Elster is telling Scottie that his wife's car showed she drove 94 miles on the speedometer, he should have said odometer.

>>> The ice cubes in Gavin and Scottie's drinks disappear.

>>> The amount of sunlight/shadows in the alley behind the flower shop as first Madeleine and then Scotty walk towards the door.

>>> The parked cars opposite the alley behind the flower shop change with the camera's point of view.

>>> When Scottie initially chases Madeleine up the bell tower stairs at Mission San Juan Bautista, a crew person's hand and forearm appears from behind the stairs for a few seconds in the upward shot of Madeleine, then disappears back behind the stairs as she passes by.

>>> As the camera moves away from Scottie standing at the edge of the tower, the shadow of the camera can be seen for a split second on the outer wall of the tower. On the Hitchcock Masterpiece Collection DVD, the image is cropped so the shadow cannot be seen.

>>> The book display in the bookshop window changes between the entering and exiting shots.

>>> Scotty and Judy drive through a grove of eucalyptus trees that is located south of San Juan Bautista on the way there from San Francisco.

>>> In the scenes that follow Judy putting on the gray dress, the headboard light on her bed disappears and reappears.

>>> When Scotty and Madeleine are on the coast, she's wearing a white coat with a gauzy black scarf. The scarf is arranged differently in different shots and sometimes is missing entirely.

>>> When they are talking outside Scotty's apartment, the same red/white 1955 Oldsmobile goes past several times (although it could be someone looking for an address or a parking space).

>>> As Judy packs to run away, the breast sections on Madeleine's gray suit in her closet are popped out in one shot and pushed in in another

>>> In Ernie's restaurant there are two famous profile shots of Kim Novak; in the second shot however (shot later in production) there is noticeably less background scenery visible.

>>> As Scotty turns into the flower shop alley, the wall to his right has no windows. When he exits his car, windows have appeared.

>>> While Scotty is spying on Madeleine in the art museum, the furniture and artwork in the gallery seen through the open doorway next to Carlota's portrait is rearranged between shots.

>>> When Madeleine wakes up in Scottie's bed, there are two chairs on either side of the doorway as Scottie exits his bedroom. When he re-enters the bedroom, one chair is missing and the other has moved.

>>> Before and after Scottie slides off the roof and hangs onto the gutter, there are two views of him shown 90 degrees apart, but in both cases the background view remains the same.

>>> When Madeleine is in Scottie's apartment after he rescued her from the bay, he offers her two cushions to sit on in front of the fireplace. When he picks up the cushions, they are green. In the next shot, when the cushions are shown hitting the floor, they are gold. When the cushions are shown lying in front of the fireplace after Madeleine has fled, they are green again.

>>> When the manager of the McKittrick Hotel is walking Scottie to Madeleine's room, the door is cracked open. A close-up shows the door closed and the manager proceeds to open it.

>>> When Scottie and Madeleine are talking on the beach, there is a tree between them. Madeleine puts her left arm around the tree, but then, without her having moved, she has her back to the tree.

>>> When Scottie gets out of his car in front of the hotel, his window is down. In the continuing shot as he walks away from the car, the window is closed.

>>> When Scottie (James Stewart) buys new clothes for Judy (Kim Novak) at Ransohoff's, Novak is shown trying on a pair of shoes. Due to the extremely low camera angle when Novak walks away from the camera, it's easy to see that the shoes are not new- their soles are heavily scuffed.

>>> During the scenes in which the main characters are driving from San Francisco to San Juan Baptista, the POV shot from the car shows that they are driving on the left side of the road.

>>> When Madeleine arrives at Sottie's apartment to post a letter, the establishing shot shows only a few bushes by the metal railings. However, in the closer two shots, more bushes are can be seen against the railings.

>>> When Scotty takes Madeleine out of water her shoe is off. When they have reached the pier Madeleine has both shoes again.

>>> Gavin Elster mentions that Carlotta Valdes was 26 when she killed herself. However, her gravestone says that she lived from December 3 1831 to March 5 1857. That would make her 25, not 26.

>>> In the scene where Scottie is following Judy for the first time back to the "Empire Hotel," now "York Hotel," the traffic flow on Sutter Street (one-way) is heading toward downtown instead of away from it, as it does in actuality.

>>> Manny walks in the corridor of the prison carrying the pillow with nothing on it. When he is inside the cell a cannikin appears on the pillow.

>>> As Rose is being led up the stairs of the mental treatment facility, the shadow of someone's head appears in the bottom left corner behind the lamp. It seems as though someone walked past a bulb.

>>> Dr. McKenna is wearing a blue suit and hat during the bus ride in the beginning of the movie and then again as the family board the wagon and set out for their hotel. When the wagon arrives at their hotel and everyone gets out, McKenna's suit and hat have suddenly switched to light gray.

>>> Although the assassin and the ambassador are seated in the same tier of boxes, the assassin's view of his target through the opera glasses is from below and not from across.

>>> During the interrogation after the Albert Hall assassination attempt, the telephone used is an obvious Western Electric American-made phone instead of a British-manufactured telephone, betraying the fact that the interiors for the movie were shot in Hollywood.

>>> In the scene where James Stewart told Doris Day that he lied about the telephone call was from the hotel, Doris gets excited and James struggles with her on the bed. During that scene, you can see on the upper left corner a shadow of a microphone.

>>> Multiple errors with Bernard's stabbing. 1. The knife changes type after he is stabbed. 2. He is stabbed in the lower neck but the knife moves down into the middle of his back in later scenes. 3. The knife moves from his back to the ground without any noise at all. It's just there on the floor.

>>> When Drayton is teaching the assassin his musical cue, he twice puts the needle down on the record about 10 seconds before the cymbal crash that is to cover the assassin's shot. After the assassin leaves, he does it a third time for his own pleasure. Once would be remarkable, twice astonishing, three times all-but impossible.

>>> During the interrogation after the Albert Hall assassination attempt, the telephone used is an obvious Western Electric American-made phone instead of a British-manufactured telephone - betraying the fact that the interiors for this picture were shot in Hollywood.

>>> After Dr. McKenna tells his wife Jo about Hank being missing, she begins to fall asleep and the shadow of the boom mike falls on the wall behind Dr. McKenna's head.

>>> When the McKennas are riding to their hotel in the horse-drawn wagon after getting off the bus, the shadows are mismatched between the foreground and the back-projected scene. In the foreground, the shadows are on the left of the characters, as if the sun is on the right of the frame; in the back-projection, the shadows are on the right of the cars, as if the sun is on the left of the frame.

>>> In the climactic scene at the Albert Hall concert, when the cymbalist stands, turns and grabs his cymbals, the timpanist beside him is playing, but is clearly not hitting the drums. Also, the timpanist is not the same person who was playing (correctly) during the title sequence.

>>> In Marrakech, when Dr. McKenna and Jo go to the police headquarters, he sits behind the desk and she sits at the corner of the desk. In the next shot they are sitting side by side.

>>> Prior to Dr. McKenna and Jo enter Ambrose Chapel, there is a white stain on Dr. McKenna's left shoulder, apparently from the struggle at the taxidermist. As soon as Dr. McKenna enters the chapel, the stain disappears, then reappears after they take their place in the chapel.

>>> Although the assassin and the ambassador are seated in the same tier of boxes, the assassin's view of his target through the opera glasses is from below and not across.

>>> In the Albert Hall, as Jo's emotion wells up in her and she turns away from the orchestra, a camera shadow passes over her dress.

>>> On their first morning in London, McKenna leaves a taxi and walks down a quiet residential street and stops at the next corner. Four or five camera shots were taken as he slowly walked down the street. In the first three or four shots the shadow of the buildings along the block extended across the sidewalk to about three feet into the street. But in the final scene at the corner the shadows were gone.

>>> Ben climbs up the bell rope and out the top of the bell tower to escape the chapel. A bell in such a small tower could not possibly be heavy enough to counterbalance Ben's body weight. Therefore Ben would pull the bell to its limit while climbing, and the bell would not ring repeatedly as he climbs the rope. And when Ben pulls the rope taut so that he can rappel down the roof, the bell rings twice more.

>>> Keep an eye on the letter that Cary Grant has with all of the names of the potential theft victims. 1) The way it is folded changes from 3 folds to 2 and from up to sideways. 2) The suite numbers are wrong , as seen when CG goes to Grace Kelly's, and it is different from the list.

>>> In the hotel bedroom, during the fireworks night, when Grace Kelly calls Cary Grant, "Robbie," his arm is bent towards his chest, but in the immediate wide shot it's straight and he then bends it.

>>> When Cary Grant swims to the floating dock to speak with Danielle, the ladder attached to the dock is not covering the L in hotel in a couple of shots.

>>> In the scene where Cary Grant and the insurance agent are walking through the flower market, the girl in the bright pink dress walks past them twice.

>>> The letter that H.H. Hughson gives to John Robie with the names of jewelry owners is folded into thirds horizontally, but later at the beach, when John Robie notices it has a wet thumb-print, the letter is folded in half vertically. In addition, the Stevens' address block has changed from 3 lines to 4 lines. "Chambre 541" has moved from the 2nd line to a separate, new 3rd line.

>>> When driving, John and Frances lean the wrong way when Frances turns the wheel..

>>> In the police car chase of John Robie and Francie, John and Francie lean in one direction going around turns, but the police repeatedly lean in the opposite direction going around the same turns.

>>> When Danielle is taking John to the beach club to avoid the police, they briefly stop the boat to discuss moving to South America. During the conversation, Danielle waves her finger at John, but in the next shot her arms are crossed.

>>> On the list of jewelry owners, the room number of Mrs. Jessie Stevens is given as 541, but when John Robie accompanies Mrs. Stevens and her daughter to their rooms, the numbers on their doors are 625 and 623 respectively.

>>> The note with the warning message on Carlton Hotel stationary that John Robie receives at the hotel's front desk before going to the Beach with Francie has the impression of a similar message on it, made when the prop department was creating various notes for the director to select for use in this scene.

>>> John says he'll leave his clothes with Danielle, but later, when he is at the flower market, he's in the same clothes.

>>> When Hughson hands Robie the list of jewel owners, he hands it to him with his right hand. But in the next shot the list is suddenly in his left hand.

>>> When Robie and Hughson are walking at the flower market they look back at a few men following them. As they do, a woman in a bright pink dress is walking towards the two men behind them. But as they turn back, the same woman (who should have been behind them) is walking towards Robie and Hughson.

>>> When John is holding onto Danielle as she is hanging off the roof during her confession scene, in shots looking up at him, John is gripping Danielle's wrist overhanded with an ungloved hand and she has a glove on (which is how he caught her as she fell). In shots looking down at her, Danielle's ungloved hand is gripping John's gloved hand.

>>> When driving from the villa, before the picnic, the reflections of the studio lights can be seen on the car.

>>> In the porch scene with the little boy, keep an eye on the rabbit. It moves around on John Forsythe's lap between cuts, even though it's supposed to be dead.
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>>> Right at the end, Shirley MacLaine's dress has a large spot that disappears in the following shot.

>>> In the second-to-last scene there is a large wet spot on Jennifer's blouse. A few seconds later, the wet spot is completely gone.

>>> After he draws the Harry's feet, Sam puts the paper block under his left arm with a white sheet on the outside. In the next shot the sheet on the outside has many drawings in it.

>>> After Arnie discovers Harry's body in the bath tub, Harry's foot can be seen twitching just as the door opens for the second time.

>>> Throughout the whole movie the audio\video is mismatched due to the fact that parts of it were filmed in a local gym due to bad weather.

>>> When Sam and Jennifer are talking in Jennifer's house, the shadow of the boom mike can be seen moving across the top of the doorway behind Sam.

>>> Sam's pants have a lot of paint/charcoal on them when he's in the store but are relatively clean after he sketches Harry and speaks with the Captain.

>>> Early in the film, Grace Kelly is talking to Bob Cummings about their extra-marital relationship and blurts out "Oh, Bob." even though Bob Cummings' character's name is "Mark Halliday."

>>> Just before Anthony Dawson is going to be stabbed to death by Grace Kelly with a pair of scissors, you can see for a very short moment that the scissors are already attached to his back.

>>> When Tony dials the first phone call in the movie, it's clear from the sound and his finger movements that the fourth digit is smaller than the third, perhaps a 4. But from the immediately following dialogue, the number should be HAMpstead 7899, i.e. 426-7899.

>>> As Margot reaches for the scissors, a bright spot can be glimpsed over Lesgate's shoulders: it's one end of what's meant to be the same scissors, already sticking out of his back.

>>> During the trial the date of the murder is clearly stated as September 26th, but when looking at Tony's checkbook, Halliday says that March 26th was "the day before all this happened".

>>> When Chief Inspector Hubbard uses his penlight to illuminate the telephone dial (and later to show the lock on the apartment door) the area of light is shaped and moves like an off-screen spotlight (which it is).

>>> Margot's press cuttings are clearly blank on one side; cut out of newspapers, they should have printing on both sides.

>>> The inspector makes a phone call from the flat, supposedly in London. We hear a clearly American-accented voice on the other end say "operator". It should have been an English voice, saying (in the 1950s), "Number, please."

>>> Early in the film, Margot calls Mark (Robert Cummings) "Bob".

>>> Margot supplies a drink to Mark picking up the bottle among others on a console table next to the wall. Later, after she takes the blackmail notes in the bedroom, she joins him behind the console table with the bottles on it. After that the console table is back to the wall.

>>> After Margot kills Lesgate, her handbag remains open on the table, making it easy to Tony puts in it the key which he took off the Lesgate's pocket. Then the handbag appears closed between shots.

>>> The boom mike is reflected in garden doors above Tony's and Inspector Hubbard's heads during the Inspector's first visit.

>>> While Tony is first meeting with Swann, he holds a cane in front of him while seated. In some shots he rests his chin on top of the cane; in other shots the cane is clearly far too short to reach his chin.

>>> As Wendice is getting ready to leave with Mark (Bob Cummings) he closes the curtains behind the desk while discussing Margot's plans for the evening. After a few minutes discussion at the other end of the room during which he convinces her to stay in and work on his press clippings, the camera follows him back to the desk area where the curtains are open again and he closes them again before he and Mark depart.

>>> In a shot of the Queen Mary, a part of the wall holding the backdrop is visible.

>>> The drainpipe running down the building where the Thorvalds live, the one between the living room windows and the bedroom windows of the block, becomes at least 1 foot (10cms) wide at least three times through the film, and changes to a gingery colour, almost as if it has become a plank of wood standing against the wall. It also has a pipe or something running into it in a couple of shots, just above the Thorvalds' bedroom window, but as this would be the "dog" couple's bedroom, there shouldn't be a pipe coming down from there. At other times the drainpipe just looks like an ordinary drain pipe. Even though we are not meant to be looking at anything but the activities through the windows, the drainpipe is very evident in many shots as the action frequently moves over it into the adjacent rooms. (Visible in the remastered video version and others.)

>>> There's an oscillating fan near the ceiling that alternates between running and not running from one cut to another in one scene.

>>> When a man carrying a big block of ice passes by the sculptress's backyard, we see her cat sitting on a chair next to her as she works on her "Hunger" sculpture. In one shot, the cat is facing toward the man, and in the next, it is facing away him when it gets up, turns around, and meows at him.

>>> When Jimmy Stewart is watching the couple in the next building, the wine glass behind him alternates between being almost full and almost empty in successive shots.

>>> After James Stewart's second massage, he buttons once in the middle of his pyjama shirt. In the next shot the top button appears buttoned as well.

>>> In the scene where Ms. Lonelyheart brings home a younger man, she slaps him on the left side of his face, and when he leaves and stands outside her door he rubs the right side as if it hurts.

>>> When the nurse first visits Jefferies, his hands are separated. They jump together in the next shot when she places the thermometer in his mouth.

>>> James Stewart uses a camera flashgun to defend himself by repeatedly temporarily blinding Thorvald in the closing scene. The number of flashbulbs in the cardboard box drops by two between cuts as Stewart wheels himself back away from Thorvald.

>>> In the shot of the helicopter hovering above the apartment building, the blue screen technique is needlessly revealed by the eratic and physically impossible movements of the chopper. This could have been avoided if the camera shooting the aircraft had been stationary. It appears, however, that it was a handheld shot.

>>> At the end of the movie, when Jimmy Stewart is hanging in the window, we can see that it's a stunt double.

>>> If you look carefully, you can see that the apartments of Miss Lonelyheart and the Thorvalds appear to be ridiculously small in depth.

>>> When Lisa places her slippers into her overnight case (while sitting on Jeff's lap), they are tossed in, more to the side of the case. Later, when the detective views the suitcase, the slippers are neatly placed and sitting upright.

>>> When Jeff is getting back into the wheelchair after Stella has given him a massage, his pajama top jumps from being unbuttoned to buttoned between shots.

>>> When Jeff grabs the box of flashbulbs, all four can be seen in the box. But when he backs up more, there are only two left.

>>> After Lisa sees Thorwald tie up the trunk, and the camera dollies forward to a close up, there are creaks from the floorboards and footsteps heard from the camera crew.

>>> In the first full pan of the apartment area (just before Lisa first appears, about ten minutes into the film) in a top floor window, an arc light visibly blows out.

>>> Lisa takes the binoculars away from Jeff and wraps the neck cord around them before putting them on a small cupboard. When Jeff picks up the binoculars later, the neck cord is no longer wrapped around them.

>>> The amount of Brandy in the detective's glass increases between shots.

>>> When Lisa goes to Jeff's house to celebrate his last week with his cast, she places two candles onto the table next to him, the candles are not lit. A little later in the same scene, Lisa walks into the kitchen, and when she returns, the candles are lit.

>>> The location and angle of the shadows of the "sun" are in the same place at in the morning and at night.

>>> At the end of Jeff's first massage, Stella places the bottle with the green liquid on the side table without replacing the cap. As Stella is packing to leave, the bottle is capped as she places it in her bag.

>>> On the back of the DVD cover, on the version's issued in Australia & the UK, James Stewart's character's name is referred to as J. B. Jeffries instead of L. B. Jeffries.

>>> While Ruth waits for her husband beside the door of the city council, a thin old man enters and walks until the desk and then disappears between shots.

>>> After the guests leave, Ruth begins tidying and her left arm is bare under a long band of her dress. When her husband enters in the room, her arm is covered, with the dress band held between her left arm and her body.

>>> When Pierre comes into her bedroom, Ruth sits on the bed with her right arm leaning on the bed. In the next shot her right arm is extended on her right leg.

>>> In the scene where Ruth is watching the postman walk past her house, set during World War II, the cars parked on the street are all 1950s models.

>>> Just before Logan accidentally smashes the car window when he's attacked by the mob, the window can clearly be seen to have been "pre-cracked" to allow it to break upon impact.

>>> In the scene where Guy enters Bruno's house to kill his father, Guy takes out a flashlight to look at Bruno's map. In one shot, you can only see the map, and the light is very small and circular, but in a wider shot of Guy's upper torso, the light covers most all of the map.

>>> Farley Granger meets a math professor on a train bound from New York to Washington, and is able to prove as much to the police. The professor got on in New York and got off in Wilmington, DE, while Granger boarded the train in the fictitious town of Metcalf, NJ, and rode on to Washington. Thus, they met between Metcalf and Wilmington. But the police say Granger could have boarded the train in Baltimore, by which time the professor would have gotten off and they never would have met.

>>> At one point in the tennis match, Guy hits a ball that bounces twice before his opponent can get to it, but it is not called.

>>> When Bruno is on his way to Union Station, he's heading on a bridge away from the Lincoln Memorial, which means he's leaving Washington D.C. for Arlington, Virginia, or in other words, he's going the wrong way.

>>> When Farley Granger sneaks out of his flat to go to Robert Walker's house, there is an EXIT sign over the door. Maybe in a theater or cinema, but in a private apartment?

>>> In the opening scene, two taxis pull up at Washington Union Station with the Capitol visible in the background. The Capitol is not visible from this point.

>>> When Bruno and Guy first meet on the train Bruno orders some whiskies and lights a cigarette. He talks with this in the corner of his mouth until the camera angle changes mid-sentence when it disappears without him moving.

>>> If Guy was in such a hurry to get out of there, couldn't he have much more easily lost the match in three sets? Surely, a match loss would be a small price to pay to alleviate a murder charge.

>>> When Guy is on the train returning to Metcalf (after the tennis match) you can see over his shoulder that the sun has almost completely set - but the next scene shows Bruno (in line to go back to the island) looking up to see the full sun in the sky.

>>> When Guy is in Bruno's house, the beam of the flashlight is not consistent between the shot of Guy looking at the map, and the upward shot of Guy looking around to get his bearings.

>>> When Miriam's glasses drop to the ground as Bruno strangles her, they land softly on the grass and don't break. However after the struggle, when he reaches down to pick them up they are seen to be cracked in one of the lenses.

>>> During the initial conversation on the train, Bruno's cigarette vanishes from his mouth mid-sentence.

>>> Tennis match played before the end of the movie is clearly put together from 2 different games - you can see those are different tennis courts and also stadiums.

>>> When Bruno is kicking Guy on the merry-go-round, he is not holding the cigarette lighter, but when he dies, he has it in his hand.

>>> In Bruno's house, the dog on the top of the stairs has stiff ears. That one which licks the Guy's hand in close-up, differently, has flexible ears.

>>> As Bruno approaches the fairground, following Miriam, the position of his hands changes between shots, from clasped behind his back, to lighting a cigarette.

>>> A crew member is reflected in the car door when the two detectives get out of the car at the station they have chased Guy to.

>>> The hand that grasps the cigarette lighter in the drain has shorter fingernails than Bruno's hand, as is evident when Bruno's hand is opened in the final fairground scene.

>>> When Bruno takes a taxi from the Anthony house in Arlington, Virginia, to travel to Union Station in Washington, the taxi crosses a bridge over the Potomac River, which separates Virginia and Washington, D.C. The taxi is crossing the bridge in the wrong direction, because the Lincoln Memorial and Washington Monument (located in D.C.) are shown through the rear window of the taxi.

>>> When Turley and the detective follow Guy to the station, they see him at the ticket booth. As they carry on to follow him, several people in the background walking through the station and going up the escalator can be seen looking and pointing towards the camera and crew.

>>> At the charity fair it is raining and everyone holds an umbrella. Shots of shoes and the ground show that they are dry.

>>> When Charlotte is testing a black dress, she holds a lit cigarette which disappears between shots.

>>> The way that Johnny carries Charlotte's blue dress changes between shots.

>>> As the characters gather for the dinner party, fairly early on in the film, the camera tracks backwards across the dining room. The table has been pushed into the path of the camera by the time it comes into view, but the candlesticks are still shaking severely from the jerking appearance of the table (their shaking lessens as the take continues).

>>> During the dinner party, Philip crushes a glass in his hand, and we see that his hand is cut and bloody before he wraps a piece of cloth around it. Later on, when Mrs. Atwater reads his palms, not only is there no bandage, but there is also no blood or sign of a cut on his hand.

>>> When Phillip plays on the piano, the music doesn't match his finger movements.

>>> When David is killed in the very first scene, the two men lay him neatly in the big chest, the rope does not hang out the side. But then one man bends over and discovers the rope halfway hanging out of the side of the chest.

>>> When Rupert gives ice cream to Brandon, they are besides a wall between the living room and the entrance of the house but the shot later, they are on the other side of it.

>>> Philip's piano playing does not match the music playing.

>>> When Rupert describes how he would "get rid" of David, the camera pans from the easy chair to the piano. When it returns to the chair about ten seconds later, the chair is facing a different direction.

>>> When Rupert is talking to Brandon and holding two plates of ice cream, the camera moves behind Brandon's back to make a cut. When the camera re-emerges, Rupert and Brandon are standing in the same positions, but the doorway background is in a different place. Also, the ice cream topping has changed from chocolate to caramel. Furthermore, the piece of cake changes position on the plate in Rupert's left hand - it moves to the opposite side.

>>> Philip cuts his hand on glass, but moments later there's no blood or wound visible.

>>> With a cigarette in his left hand, Brandon makes a quick phone call to the garage man. After he hangs up the phone he has no cigarette.

>>> When Phillip and Brandon put David in the chest, the rope is clearly around David's neck and completely inside the box. But in a few minutes Phillip finds the rope hanging, very far, outside the box.

>>> During the party, the chest that houses David is tall enough to serve food from. However, by the end, as Rupert crosses to the chair next to it, the chest is only as tall as Rupert's knees.

>>> Clouds in the background do not move, revealing that the background is painted.

>>> When Gay gives Mr. Keane a drink, she completely empties the cocktail shaker. However, after she gives him the drink, she takes the same cocktail shaker and supplies a drink for herself.

>>> When Latour is seen in close-up in the court, there is a man on either side of him. In the long shots, there is nobody near him.

>>> Although the film story is all based in UK, but almost all of the characters speak in an American accent.

>>> When CG and IB are on the plane, watch the scenery in the window. It appears to be going in reverse.

>>> Watch Devlin's hands in the cafe in Rio. They open and close between shots.

>>> When Devlin and Alicia are having a drink at an outside table in a busy cafe, the same portion of background film was used in two separate parts of their dialogue (a man walks away from the camera, then a waiter approaches a distant table and starts to put down some drinks from his tray).

>>> At the coffee shop in Rio, Devlin's hands are repeatedly folded/unfolded between shots.

>>> When Alicia and Devlin are flying to South America, the movement of the clouds makes it appear that the plane is flying backwards.

>>> When Devlin visits Alicia sick in bed, she says, "They are poisoning me," and continues to speak, but her lips do not move.

>>> Alicia and Devlin's shadows can be seen "over" the background plates during the drunk driving scene and the balcony scene.

>>> When the motorcycle officer is approaching Alicia's car, the rear-view mirror has the same image as we see behind Devlin and Alicia, not the reverse.

>>> In the scene where Devlin and Alicia go to find Sebastian riding horses there is a quick two second shot of all four characters next to each other on horses and two arms are visible walking the horses of Sebastian and the woman he is riding with.

>>> When Devlin and Alicia go to find Sebastian riding horses, when viewed from the front Alicia is nearest to the rails. When viewed from behind their positions are reversed and Alicia's horse has changed from chestnut to dapple gray.

>>> When Alicia picks up Alex's keys off the dresser, it is a round key she is after. However, the key we see in her fingers immediately after removing it from the ring is not round.

>>> When Alicia and Devlin are riding their horses (and about to meet up with Sabastian), the shadow of the microphone boom can clearly be seen as it passes over Alicia's face when they ride out from under the trees.

>>> The "hand" holding the gun rotates 180 degrees while the shooter's point of view does not move. A real hand can't reproduce that motion without moving extremely close to the face.

>>> Immediately after the (Dali) dream sequence, when Dr. Brulov and Constance are reviewing Constance's notes, Dr. Brulov draws a pencil out of his coat pocket. Hitchcock then cuts to a close-up, and Dr. Brulov repeats the motion.

>>> During Ingrid Bergman's first scene, she is having a psychiatric session with a patient. Suddenly, you hear the sound of the door opening. The camera immediately goes to the door, showing two men standing side by side, both perfectly still and standing in a place that would have required more movement than the time allotted between shot changes. * Abfolgefehler: When Dr. Peterson enters the library at the mental hospital, The word "LIBRARY" is clearly visible on the door in large letters. When she exits, it is gone.

>>> When John Ballantine, after seeing snow in Dr. Brulov's house, drops and breaks a cup full of coffee, no coffee spills on the carpet.

>>> When Dr. Brulov wakes J.B. to ask about his dreams, J.B.'s hair is very messed up. However, when Dr. Peterson enters the room with coffee a couple of minutes later, J.B.'s hair is neat, even though he hasn't combed it.

>>> The envelope which John Ballantine slips under the door of Dr. Peterson's room remains close the door and with its border parallel to the door bottom line. Later it appears a little distant from the door and skewed.

>>> The burn on JB's hand is only visible during the scene where they talk about it. It disappears in every other scene where his hand is visible (like when he is sitting on the couch with Dr Brulow).

>>> After the operation on Gus's leg, the group is playing cards. The sound is the same audio from the card game earlier in the film. Ritt stays. Kovac takes three cards. You can see when Kovac supposedly says, "Three cards," his lips don't move at all.

>>> When Gus is chugging brandy, the amount in the bottle remains the same and does not go down.

>>> When Talulah offers to use her diamond bracelet as a fishing lure, the fish that swallows it is a carp, a fresh water fish, which would be unlikely to strike at a flashy lure anyway since it is a toothless herbivore.

>>> The fish that is seen underwater going after Connie's gem bait is obviously being pulled to it by a line attached to its mouth, and never opens its mouth to take the object when it makes its "strike".

>>> In the pull-back shot from "Young" Charlie while she's in the library, the shadow of the camera is visible on her back.

>>> As the car/cab pulls out in the scene where the group leaves for Uncle Charlie's speech a man is seen disappearing around the right side of the house, but no one is supposed to be there but Young Charlie.

>>> When Young Charlie is reading the newspaper in the library, the camera casts a shadow on her back.

>>> In the beginning of the film, when the maid enters in the Uncle Charlie's bedroom, he is lying on the bed with his hands crossed on his belly holding a cigar. For a moment he appears with his hands and the cigar on his chest.

>>> When Uncle Charlie goes out home, the two men outside follow him. A shot from above shows them with very short shadows, showing that is around noon. They separate for a short while and when they meet, their shadows are much longer, though not enough time has passed for it to be that much later.

>>> Near the beginning of the movie, little Ann answers the phone when the telegraph office calls. She delivers all her responses without pausing long enough to allow the caller to respond.

>>> Uncle Charlie is on Locomotive No. 140 shown heading to Santa Rosa. When the Train pulls into the station and is met by the family, Locomotive No. 142 arrives.

>>> When Charlie examines the ring at the library, the manner the ring is held in the closeup is not the same as immediately before or after.

>>> The closeup of the Soda City calendar shows a much heavier coating of spider webs than the previous shot.

>>> After arriving at the Statue of Liberty, a closeup shows Priscilla Lane in a very strong wind which musses her hair. In the next shot, her hair is perfect.

>>> After returning from their honeymoon, Johnnie pours tea for Lina. He picks up the teapot, then lifts it again in the cutaway shot.

>>> When Lina reads the notice of the Beaky's death, the wall behind her changes at times.

>>> When Lina looks at Isobel's book while Johnnie is on the telephone, there is a large tear in the book jacket above Isobel's photo. In the next scene, when Lina takes the book on her visit to Isobel, the book jacket is undamaged.

>>> According to the invitation shown on screen, the hunt ball is on March 7, but the telegram that persuades Lina to attend the ball is dated March 8.

>>> Hitchcock makes his cameo appearance about forty minutes in, posting a letter in the village. However, when the shot changes, he has suddenly disappeared from beside the pillar-box.

>>> Hitchcock makes his cameo appearance about forty minutes in, posting a letter in the village. Note the background in this shot and a shot just a few seconds earlier with the car driving by and a man walking while smoking. They are both exactly the same background shot with same car, people, with one being enlarged. It could be the film was so expensive, the re-use of background shots was needed.

>>> The barrister's lips and speech are out of sync when reading Lina's father's will.

>>> Despite the explicit dialogue and written appearances of the name that make it clear that the character Scott ffolliott has no capital F, the name still appears as Ffolliott in the end credit cast list.

>>> Window shadow on Johnny's jacket changes while in his boss's office.

>>> Johnny's raincoat lapel is folded, then flat, then folded while on the steps in the rain.

>>> The ladder appears and disappears beside the windmill door.

>>> The taxi rear window view shows that they drive up the same street twice.

>>> The film is reversed left-to-right during the chess game at the police station.

>>> During the plane crash climax, during the montage of images after the plane hits the water, the camera tilts too high up and the lights of the set can be seen.

>>> As the arguing couple depart the elevator at the top of the cathedral tower, its walls can be seen to shake hugely.

>>> When ffolliott returns with backup to find van Meer unconscious on the bed, and the room deserted, the doorframe shakes noticeably as the actors pass through it.

>>> As the Purser on the ship tells John and Carol that he has no more cabins, the right side of his fake moustache can be seen sliding down. He surreptitiously pushes back in place, but as they turn back for a second try and he continues speaking, the moustache slides down again.

>>> When Johnny and Carol step down from the taxi in front of her house, he takes the suitcase with her left hand and changes it to the right one, to direct her with the left hand. After the taxi leaves, he is holding the suitcase in his left hand.

>>> In Fisher's office, Scott picks up a cigarette from the cigarette case and puts it in his mouth. The following shot shows him smoking, without apparently lighting the cigarette at all.

>>> After the crash, as the survivors spot the American ship steaming toward them, the matte line between the moving water and the sky can easily be seen.

>>> During the scene where the passengers are scrambling to get out of the sinking Clipper, a man grabs a suitcase and smashes a window, leaving a lot of large, jagged pieces of glass in the frame. He then climbs through the window and sits directly on the jagged glass.

>>> The streetcars are obvious dummies running on rubber tires.

>>> The hair of Carol Fisher is wet after she completely submerges next to ffolliott after the plane crash. In the exact next shot her hair is nearly dry again.

>>> In the scene where Max de Winter brings Mrs. de Winter to Manderley for the first time, we see Frith, the butler, at the estate gates. A few minutes later, after the de Winters have finished driving down their mile-long driveway, we see him at the front door of the mansion. How'd he make it back there so fast?

>>> When Maxim gives Mrs. de Winter the bushel of flowers, right after they are married, she says a few times "lovely", the last time she says it, her mouth is closed.

>>> Camera dollying back from Mrs. de Winter sitting on a chair brushes some flowers on a table.

>>> When The Second Mrs. de Winter and Maxim marry, he gives her a large bunch of flowers. She repeats "Perfectly lovely", but the second time, her lips do not move.

>>> After the luncheon, de Winter and "I" are standing on the steps waving goodbye, Jasper the dog moves from one side of the steps to the other between shots.

>>> When the new Mrs. De Winter first enters the room to do her correspondence, there are three books on the table. An establishing shot shows that the book on the left is labeled "menus", and the one in the center is labeled "addresses". Mrs. de Winter picks up the one on the left, and it is now revealed in a close-up to read "addresses" on the cover.

>>> Frank's hand holding the letter jumps from in front of the filing cabinet to resting on top of it.

>>> During the dining scene after the second Mrs. de Winter knocks over the vase, the neckline of her blouse goes from untidy to perfectly neat between shots.

>>> Walking back from the beach, the background moves much more quickly than the characters.

>>> In the Monte-Carlo Hotel Lounge, the 'girl' and Mrs Van Hopper are having coffee. The 'girl's' coffee cup then a newspaper are in her right hand between shots without sufficient time or obvious motion to change them.

>>> George is driving on the left-hand side of the road outside Monte Carlo.

>>> The second Mrs. De Winter follows Jasper to the cottage. When she sees Jasper, he is standing up, barking in front of the door. She approaches the door and the dog is now lying to one side.

>>> In the first scene where the wreckers are assembled at the inn, Dandy's many tattoos are shown in close-up and feature prominently as he recalls a past love affair commemorated in one of them. Yet in one tableau view of the gang from that same scene, there's not a single tattoo to be seen on his chest under his open coat.

>>> Ms Froy's writing on the window has changed position when Iris spots it later.

>>> When Iris Henderson and her two friends arrive at the hotel, Iris orders dinner and asks that it be sent up to "our" room. The waiter arrives when the three are changing. But later, when it's time for bed, Iris says good night to her friends, who leave her alone in the room (as she must be for the sake of subsequent developments).

>>> Iris, Gilbert and the other English characters lose their luggage when the bad guys have the back of the train uncoupled. When they arrive in London at the end, Iris and Gilbert are wearing new clothes evidently acquired after their escape. However, they carry nothing when they leave the train. What happened to the clothes they had been wearing before?

>>> When Iris, Gilbert and Dr. Hartz are together in the dining car, they order three drinks, one for each of them. Gilbert swallows his in one gulp. A minute later, Dr. Hartz proposes a toast, and all three of them guzzle their drinks. Where did Gilbert get another glass of brandy?

>>> Margaret tells her lover Eric that her husband thinks she's "cruising with Mother." Afterwards, when the villains are closing in for the kill, she tells the others, "It's funny: I told my husband when I left him that I wouldn't see him again" - hardly the sort of thing you tell your spouse after telling him a story to cover up your infidelity.

>>> When Iris is about to hit the still semi-conscious Signor Doppo, for the second time, he cringes before she hits him.

>>> Just after the train starts out, we see it on a high bridge; behind the locomotive and tender are a van, four passenger cars, and another van. Just after the lady vanishes, an exterior view along the side of the train shows at least five passenger cars, and we were told that there have been no stops.

>>> In Europe, the hotel manager says it is "spring" when talking about the avalanches. However, the two English travelers are trying to get back to the Manchester cricket test in England. Cricket is played in the summer and all Manchester tests in the 1930s were played in July.

>>> The writing on the train window.

>>> During the club car scene where Dr. Hartz tries to get Gilbert and Iris to drink drugged brandies, the amount of brandy in the snifters varies from shot to shot.

>>> The way Charters leans over Caldicott in bed when the maid enters changes between shots.

>>> The way Iris leans on her pillow when Gilbert enters her room changes between shots.

>>> The London Underground and tram lines had their own power supplies, both separate from the public system. A single power station failure could not affect all three.

>>> Stevie's hair and the foam on his mouth as he is being subjected to the street vendor.

>>> The layout of the letter Verloc is writing.

>>> The ring on Mrs. Verloc's third finger when she's wielding the knife.

>>> When the little dog is scratching at the door, it is facing left and is in front of the right-side door. When the elderly lady then (immediately) picks up the dog, it is facing right and is in front of the left-side door.

>>> Ashenden's resignation letter changes between scenes. The first time we see it, it reads: "Now that I have resigned / if you want a successor for / me I can give you the / name of a good reliable butcher" When Carrington later looks at it and cuts it up, it reads: "Now that I have resigned / if you want a successor / for me I can give you / the name of a good / reliable butcher"

>>> The General (Peter Lorre) drops his hat in the church and then he runs upstairs together with Edgar Brodie (John Gielgud). When they get there he has his hat on again.

>>> Dates given in the story are out of sequence. After starting "May 10, 1916" (title), a telegram received later appears to be dated "3/4/16". A newspaper near the end of the film is dated "Tuesday, September 21, 1916," when that date actually occurred on a Thursday. Afterwards a postcard bears the date of "April 2."

>>> Though the film is set in 1916, most of the women's fashions are contemporary with 1936.

>>> Lights visible when police search the train.

>>> Shadow of microphone visible on wood panelling in hotel room.

>>> When Professor Jordan suggests Richard Hannay commit suicide, he says "What if I leave you alone with this revolver?" when he is clearly brandishing a small-caliber semi-auto pistol.

>>> The serial number of the autogyro has been reversed, showing that the stock shot has been reversed for effect.

>>> The date in the Church Hymnary that stopped the bullet is signed by Margaret in 1928, but is dated 1932.

>>> The sideways shots into the car that Richard and Pamela are travelling in with the detectives uses the same view across a loch, even though the following shots show they are nowhere near water.

>>> Just before Professor Jordan shoots Hannay, his revolver impossibly switches from his left to right hand.

>>> Near the beginning of the film in the scene with the Memory Man entertaining the audience by answering their questions a woman yells out, "Who is the last British Heavyweight champion of the world?". Beside her is a man who mouths the woman's words in synch with her.

>>> In the scene where the man is shot through the window, near the beginning of the film, just before he is shot, he turns to face another man. At that time, you can see the beginnings of a blood stain on his shirt next to his lapel...before he’s shot!

>>> In an early scene, Emily is shown using a marker to draw a caricature of herself into a photograph with Commander Gordon. The photo is shown again two more times in the movie, and each time the drawing is slightly different.

>>> The painting changes from the time it is made until the time the detective looks at it.

>>> When the artist is talking to the landlady, his walking stick is tucked under his arm. When he turns around, it is hanging on his forearm.

>>> When the artist is talking to Alice (Anny Ondra), he calls her Annie at one point, before correcting himself.

>>> It is obvious that Mr. Crewe (the artist) is never actually playing the piano. Rather than pushing them down, his fingers just touch the piano keys.

>>> Before the chase scene, Alice Locks the door so the blackmailer cannot escape while Frank explains that the squad car is on its way. When the other officers arrive, they enter the door without unlocking it.

>>> After leaving the artist's loft, Alice walks through the streets of London. Throughout the walk, her shoes alternate between heels and pumps.

>>> A policeman stops the cab with a fleeing Tracy, and the officer looks into the cab standing no more than a foot from the bumper. When the panicky Tracy flees the cab, the bobby is ten feet from the taxi's front and is facing in the opposite direction.

>>> When the lodger is looking down the stairs at Daisy (who has just been handcuffed as a joke), his body faces the railing in one shot, the wall in the next, then the railing again.

>>> After "the lodger" escapes handcuffed, Daisy met him sitting on a bank in the street. Then she sits down side by side with him. After that he puts his head on her right shoulder, with his face touching her face. Between shots she appears alone with nobody on her shoulder.

>>> In one of the heralded shots of the film, Daisy and her parents look at the ceiling to see the chandelier shaking. We then see "through" the ceiling to a shot of the Lodger's feet pacing back and forth. This was a unique way to imply the sound of footsteps in a silent film. However, looking at the layout of the house, the room the family is in is NOT beneath the room in which the Lodger is pacing.