When Max and Leo are trying to talk Roger De Bris into directing "Spring Time for Hitler," Roger's personal assistant, Carmen Ghia places a wig on Roger's head to complete his costume for the choreographer's ball. As the scene cuts back and forth from wide shots to close ups of Roger while he is speaking, the bangs of his wig alternate between being off and on his forehead.
In LSD's number "Love Power", his musical ensemble consists of a guitarist, keyboardist and sax player, however, the music we hear clearly has flute, bass guitar, drums and other instruments not represented, and no saxophone.
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During the mass Hitler audition, as Roger De Bris jumps up from his seat to go onstage, his dialogue and the movement of his lips don't match.
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During the time in Liebkind's flat and leaving it Max and Leo are wearing Nazi bandages on the right arm. However the real swastika bandages were worn on the left arm. Since Franz Liebkind was a "true" Nazi, he should have known that.
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When Max and Leo are about to enter Franz's apartment building, a pretty woman passes by and they check her out. In the distance, a young man exits another building; as the woman gets closer to him, they obviously don't know one another. When Max and Leo leave Franz and walk onto the same sidewalk in front of the building, the very same pretty woman can be seen walking towards them; what's more, she is with the same young man who was exiting the building, and now they are a "couple."
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When Max is reading aloud the opening line of Franz Kafka's "Metamorphosis", the script he's holding is upside-down.
When Max wipes coffee off his window with his scarf, it becomes dirty. It is clean a moment later.
After Max throws water into Leo's face, his shirt is wet. Then it becomes dry, wet and dry again.
Max hands Leo a cigar. Leo has the cigar in one shot, and then the next shot of him, it's gone.
When Max and Leo hide their faces from the audience in the bar, Leo's hands change positions just before the crowd enters.
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The left arm of the "concierge" as she leans out her window is down/up between shots.
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In the elevator in Roger De Bris' home, one shot shows Max and Leo facing each other from above, however one of them is facing Carmen in another shot
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When Max buzzes for Ulla to come into the office to call for a cab, she appears on camera so quickly that she had to have been in the room already.
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When Max buzzes for Ulla to get the car, she appears literally 2 seconds later. There's no way she could have been in the outer office.
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While playing the kitty game with the lady in blue, Max sits on the couch. Between shots, his position changes; he is first to the right and then to the left.
The positions of Max's hands change between shots when he is told to be a stable boy.
In the bar The Drunk is between Max and Leo as the patrons leave for the second act. After the shots of Max putting his head on the jukebox and Leo caressing his blanket when Max comes back to the bar, to calm Leo down, The Drunk has disappeared.
In the bar during the intermission, the way 'see/hear/speak no evil' is done changes.
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In two separate occasions, the way Max grabs/holds the blue lady's hand changes between shots.
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When Leo is having hysterics in Max's office, the picture on the wall behind his right shoulder is crooked/straight/crooked between shots.
The way Leo touches his lead when he walks in on Max and the blue lady changes between shots.
The way Leo holds the blue blanket after Max gives is back to him changes between shots.
When going to be de Bris, the positions in elevator change, and the hand that Carmen holds his monocle changes.
The way de Bris' hand is on Leo's shoulder changes.
After Max Bialystock gets into his cab to go to the Blue Gypsy, cables are visible as the cab pulls away from the curb.
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On opening night, the shots of people getting out of their cars show the Cort Theatre on the other side of the street. There is now no theatre across the street from the Cort but until 1969 it was Broadway's Playhouse Theater.
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Max didn't really need Leo to pull off the fraud, and although Leo suggested the theory, he actually does nothing for the rest of the movie except keep the books- which would have been evidence of the scam.
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Leo claims in the bar scene that he went from a meaningless accountant one day to the producer of a broadway flop the next. The events of the film shown up to this point could not possibly have taken place in a single day, given that they had to find a flop play, Max had to go seduce several old women, and they had to go about getting the play director, stars for the play, holding rehearsals, and a crew assembling the setpieces for said play. There is simply no way this all fits into a single calendar day.
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After Bialystock and Bloom enter Roger de Bris' house, Carmen Ghia immediately asks them to take off their shoes to keep the white carpet clean. While on a shot of their faces, we see them both take off their shoes and hear audio to that effect. Yet when they get into the small elevator immediately after and in s subsequent scenes with Roger de Bris, they are obviously wearing shoes.
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In the restaurant with the violin player, the violin is obviously a prop as the strings are slack and move easily when bowed.
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