Continuity mistake: When Major Pollock sits down at his table in the dining room, he takes the napkin's ring off and after it falls he places the ring on the table and the napkin on his lap, but when John says, "Good morning," the Major's napkin is rolled in its ring and back on the table, then it's gone again. (01:35:00)
Other mistake: In the opening scene, as Captain Glenn Ford is watching a Japanese freighter travel right to left through his submarine's periscope, the freighter is actually going backwards. The bow of the ship is on the right, not the left, as it should be.
Other mistake: During training, when the men are running and the two British men come out of the bushes then shoot at the ground, there are 3 rows of bullets going past but only 2 guns being fired.
Continuity mistake: In the scene towards the beginning where pair- chained interracial prison escapees Noah Cullen and Joe Jackson (Sidney Poitier and Tony Curtis) are trying to cross a river together without killing each other, they get carried away downstream and are stopped by a tree. The mistake is, Sidney Poitier's bald headed stunt double is noticeable losing control while floating downstream, visibly and audibly crashing head first into the tree. He is briefly flailing and struggling from the unexpected impact until Sidney Poitier reappears properly floating towards the tree without struggle. This mistake is less than 30 seconds and is awesomely noticeable best on Blu-Ray disc. The shot of Tony pulling Sidney out of the river concludes the scene.
Factual error: This horror-fantasy film (a 1958 knockoff "The Mummy") was inspired by the faceless whole-body plaster casts taken from the volcanic ash of Pompeii, at the foot of Mt. Vesuvius. The running mistake in this movie is the assumption that the faceless bodies of Pompeii were 2000-year-old mummies preserved by volcanic ash and could, thus, be re-animated (by radiation, in this case). The fact is, the victims at Pompeii were originally encased in hot volcanic pumice and ash, and the corpses then disintegrated, leaving hollow "molds" of human bodies underground. It wasn't until the mid-19th Century that archaeologists first discovered the molds, filled them with plaster, then extracted the whole-body plaster casts for display. Since the faceless bodies of Pompeii are nothing but modern plaster casts, there would be nothing to re-animate, by radiation or any other improbable means.
Continuity mistake: When the Bayonet is thrown at Strong, it is thrown with the butt of the rifle facing left, but is caught with the butt facing right. (00:41:00)
Continuity mistake: When Jeannie is on the settee talking on the telephone, the cord is missing in some shots.
Revealing mistake: When a yellow cab pulls up to the curb, it is obvious that the street is part of a studio backlot and not a real city street because the businesses have no names. The sign outside one building says simply "Tobacco." The diner has only the word "Restaurant" painted on its windows. Another business has no identification other than "Fish and Poultry" painted on its window.
Plot hole: Jean Simmons is supposed to actually be correct about her husband being in love with his sister in law, and not insane. When she enters the nightclub acting weird, in a dress too large for her and hanging off her, exposing her brassiere, she is completely out of character. She is not drugged at this point, as she stopped drinking the paraldehyde before this.
Factual error: The film begins in 1860, but the majority takes place 20 years later, so 1880. When James Rankin obtains files on the Haymarket Strangler/Edward Styles case we are shown another box labelled with details about Jack the Ripper, who wasn't active until 1888.
Other mistake: Outlaws are chased by a mounted posse. One outlaw up on a hill shoots two of the posse members from long distance. Next shot, the two injured posse members are lying on stretchers and the chief deputy orders someone to go back to town and get a wagon. The stretchers were canvas, wooden handled, military style. Where did they come from?
Continuity mistake: When Daffy is standing on the branch of the tree ready to jump off, he is holding on to a rope. When the camera angle changes to behind Daffy in the next shot, the rope is missing.
Continuity mistake: When Diestl and Hardenburg attempt their wild dash to the coast on the motorcycle, they pass the same wrecked Kubelwagen three times.
Factual error: You can't expect a great deal of historical accuracy from a movie that narrates a love story, conveniently ignoring the glaring fact that one of the two lovers was DEAF. Nevertheless, here Francisco Jose de Goya paints for his lover, Duchess Maria, a 1797 painting, "The Black Duchess", only after he already painted "Charles IV of Spain and His Family", finished in 1801, and the St. Anthony of La Florida frescos, 1798.
Continuity mistake: When Daffy rushes up to take his breakfast from Elmer, you can see the door behind them is closed, but when Elmer tells Daffy he's had enough, the door is now open.
Revealing mistake: In the opening credits, Richard Widmark is driving a car with Doris Day in the passenger seat. Widmark does not turn the steering wheel, even though the rear-screen projection shows him going around a curve.
Continuity mistake: When Sylvester sucks the spaghetti into his mouth after thinking he has captured Tweety, you can see bowl next to him is full of spaghetti, but when he is clobbered on the head by the mallet, the bowl is empty.
Factual error: The film is set during WW2, but when Pitkin drops Judy off at the station, the locomotive bears the lion and wheel emblem of 'British Railways', which was formed in 1948. Likewise the wagons in the railway yard are to a British Railways standard design and are out of period for WW2.
Continuity mistake: David Hackett is talking business organizing ranch business while his brother Ed is leaning on the counter, gawking at the beautiful Clee and passing her cloth. He has his right arm up in the close-ups, but the left arm up in the wider shots. (00:04:55)
Revealing mistake: Whenever our heroes are shown firing the Vickers guns on or off the vehicles, they are very obviously fitted with blank-fire adapters to the front. The belts of ammunition for them throughout the film are also blanks - the cases are visible, but the bullets that should project out the other side of the belt are not present.