Contact

Factual error: At the end, after Ellie testifies before Congress, she departs the Capitol building to a waiting limo. The media is there waiting for her. Behind the reporters appears to be the Reflecting Pool, and the Washington Monument at the far end of it. However, in reality, the Reflecting Pool is actually located between the Lincoln Memorial and the Washington Monument, not the Capitol. While there are two Reflecting Pools, the columns in the movie are the columns of the Lincoln Memorial, not the Capitol. Furthermore, the steps leading to a street in front of the reflecting pool are located at the Lincoln Memorial; the Capitol has a large green lawn between it and the street.

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Suggested correction: It wasn't the Lincoln Memorial, but the Treasury Building.

Factual error: When Foster is going to Japan, a Harrier jet transports her to a ship. The ship is underway, traveling at quite a clip according to the wake. The Harrier landed on its heliport platform, facing the stern. Harriers hover, but cannot fly backwards at more than a crawl. It would have crashed.

Jack McNally

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Suggested correction: It isn't technically a harrier just another futuristic version of a VTOL aircraft. We don't know the capabilities of a fictional aircraft.

The VTOL is military, but she steps off a small commercial plane.

Factual error: The last time Eleanor Arroway talks to S.R. Haddon, he's aboard the Russian space station Mir, and Haddon explains that he's up there because the "low oxygen" and zero gravity counteracts his cancer. In fact, there is no "low oxygen" environment aboard space stations or other spacecraft. Low oxygen content would, of course, kill any astronauts or cosmonauts in short order. The breathable air in spacecraft always has at least the same oxygen content as Earth atmosphere at sea-level. In fact, most Russian missions used excessive amounts of oxygen. S.R. Haddon's original dialogue was probably "high oxygen and low gravity," but the line was bungled and allowed to remain in the film.

Charles Austin Miller

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Suggested correction: Also, being terminally ill, he is grasping at straws, and can't be expected to think solidly. After all, gravity wouldn't mean all that much to cancer cells in the human body, and special oxygen conditions of any kind can be generated on Earth (there is a weak possibility that low but sufficient for a human oxygen levels would slow cancer cells, which are often less efficient, more vulnerable in certain areas than healthy cells), so no need to go up, and finally, he may simply be Dennis Tito-ing and making an excuse to do so.

dizzyd

Continuity mistake: There's a scene where Ellie sleeps with Palmer, then gets up quickly to go to the lab. In her haste, she departs whipping on a shirt with no bra. If she had a bra inside that tight T-shirt the contours of the cups and straps would be visible and we would see her fitting and fastening it, instead she steps outside where suddenly it appears she is now wearing a bra.

More mistakes in Contact

Palmer Joss: What are you studying up there?
Ellie Arroway: Oh, the usual. Nebulae, quasars, pulsars, stuff like that. What are you writing?
Palmer Joss: The usual. Nouns, adverbs, adjective here and there.

More quotes from Contact

Trivia: Filmmakers George Miller and Francis Ford Coppola both sued Warner Bros. over Contact. George Miller sued for breach of contract (as he was the original director before being fired and replaced by Robert Zemeckis), while Coppola sued because he claimed that he and Carl Sagan (the writer of Contact) had already developed the premise for a TV show in the 1970's which was never produced, before Sagan later used the idea for Contact in 1985. Both suits failed - Miller's firing was within contract and perfectly reasonable, and Coppola was dismissed (twice) because he had taken far too long to sue the company (if he sued when Sagan began working in the 80's, he may have won, but he waited until after the film's release in 1997 to sue).

More trivia for Contact

Question: If you read the book version of Contact you know that the stuff about transcendental numbers and the Artist's Signature was left out of the movie. This makes no sense to me, since it's not only the real ending, it's the whole POINT of the story. Without this information, the story's fundamental question (does God exist?) is not answered in the movie. Does anyone know why this was left out?

Answer: If anything, I think the film's producers deliberately left godly topics unaddressed (and questions dangling, unanswered) because they didn't want to alienate any particular audience. However, we know the producers of "Contact" certainly did vilify religion through the sinister scenes with Joseph, the evangelical extremist. At the same time, the film created empathy for the president's glib theological adviser, Palmer Joss. So, I don't think the film was shying away from religious topics, and I think it was pretty fair to the religious viewpoint, for the most part. But this movie wasn't about religion; it was about a primitive, materialistic, self-centered and aggressive species (humanity) reluctantly acknowledging the existence of vastly more intelligent and even godlike entities throughout the cosmos. Even the first-contact entities, advanced as they are, acknowledge other entities much more ancient and much more advanced (the virtual architects of the space/time conduit). The implication was that we live in a universe that may be populated with many intelligent entities that answer every human criteria of godhood. Ellie's narrow-minded atheism was surely shaken to its foundation by her experience; and, while she didn't "convert" to archaic earthly religions, she was spiritually a different person upon her return. The film, however, is open-ended and fence-straddling and doesn't presume to definitively answer the question of the existence of god, leaving it up to the audience to decide.

Charles Austin Miller

Answer: The film chooses to focus on Ellie's personal journey and how she deals with and comes to terms with what happens - it doesn't really involve God at all, other than the inclusion of Palmer Joss as a religious advocate, choosing to restrict itself to the much less theologically controversial theme of a straight first contact scenario, without the religious overtones. Given the depth of feeling on religious matters in the US, it's hardly surprising that the filmmakers preferred to leave this particular hot topic out. While Carl Sagan died during production of the film, he both co-produced and was involved in the story process, so he was clearly not concerned about this change.

Tailkinker

More questions & answers from Contact

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