Goofs for
Per un pugno di dollari (1964) More at IMDbPro »

• Continuity: In his first real gunfight of the film, The Man With No Name manages to kill four opponents with four bullets, while his weapon is aimed at a spot about ten feet to the right of three of them.
  
  
• Audio/visual unsynchronized: While our hero is preparing his custom bullet proof vest, the sound of the rasp doesn't match his movements.
  
  
• Audio/visual unsynchronized: Joe walks into a room with five bad guys, and starts shooting. Only four gunshots are heard, but when the smoke clears all five baddies are down.
  
  

• Continuity: When Chico is left alone to guard the Rojos' compound while the Rojos are fighting the Baxters, Chico is shown riding on horseback among the Rojos gang when they are riding back to the compound.
  
  
• Continuity: While Chico carries The Man With No Name back to his room after the party, the camera shows The Man With No Name has no facial hair. Also, when the Man With No Name enters his room after the massacre, Rubio is a different actor; Ramón's mustache is parted.
  
  
• Continuity: The Man With No Name takes off on a brown horse after shooting the three baddies before El Paso. Then he rides into town and ties up a chestnut horse. Then the rest of the movie he is riding a bright bay with a blaze.
  
  
• Miscellaneous: In the hostages exchange episode, when Marisol is still at the other end of the main street, Ramón tells her quietly, "Go to him, Marisol". This must be an error in editing as her child only runs into the street later.
  
  
• Errors made by characters (possibly deliberate errors by the filmmakers): When the Baxters and Rojos are in the street for the prisoner exchange, there's a close-up of Ramon cocking his rifle, but clearly the hammer is already cocked.
  
  
• Continuity: After entering the town, Joe goes into a place for something to eat and drink. The position of his bottle and plate change between shots.
  
  
• Continuity: In the first gunfight, the man to the extreme left, who is on the fence, slumps over. The position of the body on the fence changes between shots.
  
  
• Revealing mistakes: When "Joe" is target practicing at the party, and Ramon starts shooting a Winchester rifle at a suit of armor, you can clearly see holes pre-punched out into the armor.
  
  
• Factual errors: In the scene where the Mexican cavalry are ambushed at the river, the machine gun used by the 'US Cavalry' is unloaded at all times - it is a belt fed weapon, yet has no belt of rounds in it - it presumably has caps in the end to produce the muzzle smoke. Furthermore a hand cranked Gatling Gun would be more appropriate to the time line the film is set around than the slightly more modern air cooled belt fed weapon used.
  
  
• Factual errors: Mules have long ears, no hair at the base of the tail and low withers. Joe's mount has short ears, hair on the whole tail and normal withers. i.e., it's not a mule but a horse.
  
  
• Audio/visual unsynchronized: When the Baxters and the Rojos are shooting at each other at the cemetery, Ramón Rojos runs over the tops of the rocks to get a better shot. As the Baxters fire at him, there is one bullet that hits the rocks under Ramón that had no sound of a rifle being fired nor any ricochet sound.
  
  
• Errors in geography: In one scene showing the hills beyond the town, the ruins of Tabernas Castle can be seen on the hilltop, showing that it was filmed in Andalucia, Spain. The castle was used by Fernando and Isabella during their siege of Almeria in the 1480s.
  
  
• Continuity: During the ambush of the soldiers, the same soldier is shot twice, but seen from a different angle.
  
  
• Continuity: When Marisol's family is freed, they walk away in the same direction as the Rojos that come riding into the scene a few moments later.
  
  
• Continuity: When the large barrel rolls down the ramp, it rolls on two large rails. Right afterwards "Joe" crawls down the ramp, and no rails are visible. The large rails re-appear when his captors come into the room right after he exits.
  
  

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