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A Star Is Born (1954) Poster

Goofs

Jump to: Continuity (6) | Errors in geography (2) | Revealing mistakes (3)

Continuity 

Norman's final minutes take place just as the sun is about to set. Yet when he walks on the beach, the shadows indicate that particular scene was shot in the late afternoon.
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Vicki and Norman's house is shown, in the distance, as being on top of a bluff overlooking the ocean, but inside the house, it appears that the house is sitting on the beach.
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After Vicki comes home and she performs in her house for Norman, the doorbell rings and he goes to the door to accept a package for Vicki. His hair is all mussed up when he goes to the door, but after he closes it and the camera goes back to him, there isn't a hair out of place. Then he walks over to where Vicki is and his hair is all mussed up again.
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At the end, Norman opens the sliding door and Esther begins to sing. After stepping outside he closes the door completely, yet the sound level of her voice is not reduced.
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When Esther and Norman are in Norman's Lincoln convertible, in the closeups the seats have a blanket over the backrest, but in earlier and later shots only the car's standard upholstery is visible.
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When Esther and Norman are in Norman's convertible, , the distance between them keeps changing between shots.
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Errors in geography 

The terrace outside Esther's Oleander Arms apartment overlooks the twinkling city lights far below, but her address is in the flatlands of Central Hollywood, nowhere near the hills.
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Although the interior of Esther's apartment appears to be situated on a hill with a panoramic view of Hollywood, the address she gives Norman is in the flatlands of Hollywood with, at best, a second story view of nearby buildings.
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Revealing mistakes 

While Vicki and Oliver are talking on the patio as Norman is listening in bed the seascape reflected on the glass doors behind them keeps resetting as though the film loop started over.
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At the recording session for "Here's What I'm Here For", Esther runs across the studio to Norman during the chorus break, whereby a sound man moves his boom mic over to them to pick up their conversation already in progress. However in the playback, their conversation begins at scratch, immediately after the beginning of the chorus break.
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The opening scenes of cars arriving for the benefit combine actual shots of a Hollywood event with ones filmed for the movie. But in one shot, taken from the perspective of a spotlight crew atop their tower, the footage of the real event is shown on the right side of the screen, while footage shot for the movie is at the left. Not only is the disparity between the two shots obvious, but the split screen is completely mismatched, so that the cars on the right appear to be moving at a sharp angle directly into the cars and building in the shot at left, and it looks as though there are two streets intersecting below.
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Trivia | Crazy Credits | Quotes | Alternate Versions | Connections | Soundtracks

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