Goofs for
The Producers (1968) More at IMDbPro »

• Continuity: When Max wipes coffee off his window with his scarf, it becomes dirty. It is clean a moment later.
  
  
• Continuity: After Max throws water into Leo's face, his shirt is wet. Then it becomes dry, wet and dry again.
  
  
• Continuity: Max hands Leo a cigar. Leo has the cigar in one shot, and then the next shot of him, it's gone.
  
  

• Continuity: When Max and Leo hide their faces from the audience in the bar, Leo's hands change positions just before the crowd enters.
  
  
• Continuity: 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
  
  
• Audio/visual unsynchronized: In Dick Shawn'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.
  
  
• Continuity: When Leo is having hysterics in Max's office, the picture on the wall behind his right shoulder is crooked/straight/crooked between shots.
  
  
• Crew or equipment visible: After Max Bialystock gets into his cab to go to the Blue Gypsy, cables are visible as the cab pulls away from the curb.
  
  
• Revealing mistakes: When Max is reading aloud the synopsis of Kafka's "Metamorphosis", the script he's holding is obviously upside-down.
  
  
• Miscellaneous: 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."
  
  
• Continuity: During the scene 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.
  
  
• Continuity: 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.
  
  
• Revealing mistakes: In the restaurant with the violin player, the violin is obviously a prop as the strings are slack and move easily when bowed.
  
  
• Continuity: 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.
  
  
• Continuity: The way Leo touches his lead when he walks in on Max and the blue lady changes between shots.
  
  
• Continuity: The positions of Max's hands change between shots when he is told to be a stable boy.
  
  
• Continuity: In two separate occasions, the way Max grabs/holds the blue lady's hand changes between shots.
  
  
• Continuity: The way Leo holds the blue blanket after Max gives is back to him changes between shots.
  
  
• Continuity: When going to be de Bris, the positions in elevator change, and the hand that Carmen holds his monocle changes.
  
  
• Continuity: The way de Bris' hand is on Leo's shoulder changes.
  
  
• Continuity: In the bar during the intermission, the way 'see/hear/speak no evil' is done changes.
  
  
• Continuity: 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.
  
  
• Factual errors: The scam that is at the center of this story's plot wouldn't work. The idea was to create a play that would be a failure, and produce no profit, so that they could sell more than 100% stake in the profits. Profit is revenue minus expenses. The investors already paid the expenses; what they would expect in return is not a share of the profit, but of the revenue. The share of the revenue that they received, minus the share of the expenses that they paid, would amount to their share of the profit. Even if the play is unprofitable (that is, fails to bring in enough revenue to cover the expenses), if so much as one ticket is sold to that play, then there is revenue, and each investor would expect his share of that revenue.
  
  

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