Continuity mistake: In the close-up of young Elizabeth, as she sings on the bow of the ship, she's standing between two posts of the railing. Each post has rope wound around it. In the next few shots of her, the existence, the amount and the thickness of the rope on each post changes drastically. (00:00:45)
Continuity mistake: As young Elizabeth sings, the next shot from behind her to her right we see the cannonballs lined up at the bottom of the rail going around the deck. When she yells out, "Look! A boy..." Now there is a cannon in the corner of that bow. (00:00:45 - 00:02:20)
Continuity mistake: Young Elizabeth's individual hair curls differ in consecutive shots early in the film. They vary from looser, tighter, shorter and longer, as well as the hair that is pulled up. When adult Elizabeth's hair is done up in curls, they change significantly in consecutive shots as well. For instance at the fort, in the front close-up, the shorter curl behind her right ear is actually GONE, yet it's back in all the other shots. (00:01:15 - 00:10:50)
Continuity mistake: At the very beginning of the film where we see Norrington walk up to the young Elizabeth at the front of the ship, the bow on his black hat is blowing in the sea wind, yet when he stops to talk to Elizabeth it is no longer blowing, then when he finishes talking to her, it is back blowing in the wind. (00:01:25)
Continuity mistake: While rescuing young Will, as Norrington shouts, "Man overboard! Man the ropes. Fetch a hook," Governor Swann is leaning over the starboard rail near the rigging throughout these shots. However, as Norrington says, "Haul him aboard," in this one shot Governor Swann's body is then seen on deck rushing to the rail with other sailors, where he already was in the previous shots. Also, a moment later the ribbon on the sailor hat lying on the tarp changes position in a following shot. (00:02:25)
Continuity mistake: At the beginning of the film when the young Elizabeth wakes up Will, then he faints, his head changes position between shots from being pointed slightly up, to resting on his shoulder. Also before he wakes up, his hand's distance from his head changes between shots. (00:03:35)
Continuity mistake: In the beginning, after the young Will is pulled on board, when Will says his name, the medallion is protruding out of his shirt. After young Elizabeth tells him, "I'm watching over you Will," in the next shot of Will, the medallion is completely hidden in his shirt, and his position differs between shots. (00:03:50)
Continuity mistake: After Norrington orders his men to take young Will below, in the next shot young Elizabeth stands at Dauntless' stern, in front of the mizzen mast and rigging, with the yard arms behind the mast way above her and its full sails. However, in the next close-ups the yard arm and sail are directly behind her, and the sails differ. (00:04:20)
Continuity mistake: At the beginning, when young Elizabeth is holding the medallion and spots the Black Pearl, we can see part of the medallion's back. It's an Aztec design, not a skull. At Elizabeth's blood ritual, when the medallion is dropped into the chest and spins over itself, both sides of the medallion are the same Aztec skull. (00:04:40 - 01:12:20)
Continuity mistake: When young Elizabeth holds up the medallion, and she sees the Black Pearl, her fingers are positioned differently in the wide shot and in the close-up shot of the medallion. (00:04:40)
Continuity mistake: Elizabeth takes the medallion out of the drawer, and in the first wide shot as she looks at it (*before* she wipes away the dust with her thumb), seen to her left in the corner, are a tapestry chair and small table with a candelabra, between the the french door draperies and the louver trim door. The table and candelabra are partially in front of the door's louver trim. However after Elizabeth takes the dress out of the box, behind Governor Swann (who stands in front of the french door draperies now), to his right we see the same tapestry chair, table and candelabra, but the table and candelabra are further away from the door's louver trim and much closer to the corner now. (00:05:15)
Continuity mistake: Elizabeth, alone in her room, puts on her robe while standing near her bed, when her father knocks. He walks in with one maid who goes to open the curtains and doors and a second who's carrying the dress box. Yet, as her father inquires, "Still abed at this hour?" a third maid steps out from behind Elizabeth and goes to open the curtains and disappears again. This maid didn't come in with Governor Swann, nor any other doorway including the one behind Elizabeth. Obviously this was part of a longer shot, but she still appears out of nowhere. (00:05:45)
Continuity mistake: Will's facial hair darkens quite a bit in the time it takes him to walk from Elizabeth's house to his blacksmith shop. (The sword scene in the Governor's mansion was the first scene that was filmed with Orlando. His facial hair was not fully grown in because he had just arrived on set. On commentary.) (00:07:05 - 00:22:05)
Continuity mistake: In the foyer of the Swann home, there is a large floral arrangement on the table. In various shots, the flowers are shown either from the front, left or right side. Regardless of the angle it's seen in, the height and position of some flowers and greenery, more so at the top, differ between these shots. (00:07:05)
Continuity mistake: When Will delivers the sword to Governor Swann, watch the clock on the wall. While Will is waiting, the time is 09:45am. When Gov. Swann enters the room, the time is 09:40am. (00:07:10)
Continuity mistake: The very first shot you see of Jack is a view from behind, when he is up in the crow's nest. He has two red pieces of cloth that are fluttering crazily in the wind out to the sides of his head. In the very next shot the pieces of cloth are blowing upwards, not in the same direction as the previous shot. (00:08:40)
Continuity mistake: When the coach leaves, Will walks down the steps. Both side gardens are edged with stones outside the front door. The driveway is also lined with the stones. When the pirates invade their home, Ragetti yells, "Up there." The front door's open and the stones are now lined up parallel to the front of the doorway, just past where the steps should be. Even if it's meant to be the stones lining the opposite end of the driveway, the distance of the far side and proportional size of the rocks are wrong. (00:08:45 - 00:32:15)
Continuity mistake: When Jack jumps down from the mast yard arm on the Jolly Mon to bail water, in the far wide shot, the mast pennant lies still, yet blows wildly in the previous shots and the bottom left of the sail is caught up on line from the rigging, but in the following shots, it's not. Also, in the wide shot he starts to walk to the middle of the boat, and he puts his arms out as he's starting to pass to the right of the mast. In the next close-up of Jack, he's passing the mast on the other side. (00:09:10)
Continuity mistake: When Jack sails toward Port Royal, he passes the skeletal remains of hanged pirates, to whom he pays a respectful bow. First, there are two wideshots of the skeletons, then in the close-up they are actually wearing more clothing, particularly the strapping middle guy, whose head position differs, and his straw hat is larger as well. (00:09:15)
Continuity mistake: When the sinking Jolly Mon 'sails' towards the dock, the straw basket which sits on the dock changes positions in the following shots, as does the rope lying on the side of the dock. When the dock master says, "It's a shilling to tie...dock," they look at what's left of the boat. The flag is hanging straight down, not blowing, but after Jack says, "And we forget the name," the flag is now wrapped around the mast. The following is only visible on VHS: there is one large barrel directly in front of Jack, but when the shot faces the Jolly Mon, there are two - a small one appears, which has a paint splattered top. (00:10:00)
Answer: On Disc 3, Johnny explains, "Take something as solid as Keith Richards and combine it with Pepé Le Pew... I felt... he would resemble a modern day Rastafarian..." Pepé Le Pew is a Looney Tunes cartoon character, based on Charles Boyer's romantic character, Pepé Le Moko. Pepé Le Pew, however, is a romantic amorous cartoon skunk and he has a huge flaw - his 'odor', which he emits in a grand way.
Super Grover ★