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Thoroughly Modern Millie (1967) Poster

Goofs

Anachronisms 

Millie drives a red roadster (with a drugged Mr. Graydon beside her), chasing the the laundry truck. As Millie makes a right turn from a T-junction, a modern blue-grey station wagon can be seen parked on the top left side of the intersection.
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The baritone saxophone that Muzzy plays is a low A baritone saxophone. Such saxophones did not exist until the 1950s.
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Jimmy Smith's boss' "red roadster" is a 1925 Pierce-Arrow Model 80. The Model 80 was manufactured by Pierce-Arrow for the 1925 through 1928 model years, when it was superseded by the Model 81. No Model 80 Pierce-Arrows had been manufactured in or before 1922, when this movie was set. Unlike most brands of automobiles at the time, the headlamps of Pierce-Arrows were installed in fender-mounted moldings.
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Although the song tells us "this is 1922," all of Millie's post-transformation fashions are from 1927. Her seamless stockings first appeared in the 1950s.
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In the opening scene, Ethel Pease is singing "Looking at the World through Rose-Colored Glasses". The scene is set in 1922, but the song was written in 1926.
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When Millie and Jimmie were hanging on the flag pole, the U.S. Trust Company at 45 Wall Street (built in 1958) was the first building on the left.
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Audio/visual unsynchronised 

When Millie and Miss Dorothy are walking toward the elevator just before the Jewish wedding scene, Millie says, "Have you forgotten about the wedding tonight? I'm singing," but her mouth doesn't move.
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Continuity 

When Millie and Jimmy take the car on a wild joyride after the dance, they pass the same cars and same pedestrians passing the same locations multiple times.
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Miss Dorothy arrives at the Priscilla Hotel on a Thursday (from the calendar). That night, she goes to a friendship dance with Millie. The notice in the elevator advertises dances on Saturdays.
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When Muzzy is flying through the air after being shot from a cannon. She has on a silver colored suit and helmet. After she lands on the stage the suit and helmet are both gold colored.
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When Miss Dorothy checks into the hotel, Mrs. Meers's hands change positions between shots.
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In an early scene, Mrs. Meers wheels her laundry cart into the elevator, punches the elevator button, pours chloroform on a rag, and then, after knocking out Ethel Pease, returns with her cart to the elevator. Sometimes she is wearing gloves. Other times, she is bare-handed.
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When Muzzy is talking to Millie in the garden, her hair changes from being slicked down to being full and wavy.
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There is a close up scene where Jimmy helps both Millie and Miss Dorothy off the wing of the plane onto the ground. In the next scene when Muzzy is driving up to the plane, Jimmy is once again helping Millie off the wing of the plane onto the ground.
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When Millie is about to drive away from the hotel with Trevor Graydon, she is wearing a black and white checkerboard hat. In the next shot as she is actually driving away, the person behind the steering wheel is not wearing a hat. In the next shot, she is once again wearing the hat.
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Mrs. Meers is injecting a red apple using a syringe with a clearly visible needle. When Miss Dorothy arrives and Mrs. Meers thinks that Miss Dorothy might catch her injecting the apple, she quickly tries to hide the apple and syringe under the desk. The scene shows no needle anywhere.
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When Millie and Muzzy are on the swing talking about how Muzzy met her husband, the two are sitting closer when the scene is shot over Millie's shoulder facing Muzzy than they are when the scene is shot over Muzzy's shoulder facing Millie.
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When the cabbie first drives Miss Dorothy to the Priscilla Hotel, the numbers of the cab's front license plate changes from the first shot of the scene to the last shot.
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When Millie does her "Baby face"-dance at the office, she puts a stamp on her hand. In the next shot, that stamp has disappeared. In a later shot, it returns.
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When Mrs. Meers is first spraying chloroform in the room without the gas mask, she faints and falls over backwards. When Miss Dorothy comes into the room, she is snuggled up on the bed holding a doll.
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When Millie first changes into a modern, she wears a bluish gray dress. When her brassiere pops open, her dress is brownish gray.
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During the "Babyface" dance, Millie loads paper into the type writer with a couple of inches sticking above the roller. When it switches to showing the typewriter from her perspective as she types, the paper is gone. When it switches back to the wide shot, the paper has returned.
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Crew or equipment visible 

As Millie and Miss Dorothy get to their rooms for the first time you can see the shadow of the camera assembly on the left wall of the hallway as it pulls to a stop.
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Factual errors 

During "This is 1922," the calendar by the reception desk at the Priscilla Hotel says Thursday, 2nd June. In 1922, June 2nd was a Friday.
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When Muzzy sings lower and lower notes it causes a martini glass to break suddenly. But glass is broken by its resonate frequency - the note it makes when it's rung by tapping it sharply. A much higher note than Muzzy's is needed to break a martini glass.
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A Jewish wedding would not take place on a Friday night.
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The "Tapioca" sequence lasts almost 7 minutes but a 78 RPM record, which is providing the music, plays for a maximum of 3 minutes.
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Incorrectly regarded as goofs 

When Jimmy and Millie are sitting on the ledge outside the office, the flagpole which both fell onto a few moments before is nowhere to be seen. That's because they have come off the flagpole onto a ledge well below it.
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Revealing mistakes 

As Jimmy and Millie walk to the bridge on Muzzy's estate, all of the stars turn off and then back on again twice.
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When Millie and Jimmy are sitting on the ledge of the building and he leans forward, you can see through the top of his head.
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At the end of the movie, when the man is falling from the chair, which is on Jimmy's shoulders, the ground is moving.
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During Muzzy's acrobatics act, wires used to safely propel her through the air are seen in the close-ups.
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See also

Trivia | Crazy Credits | Quotes | Alternate Versions | Connections | Soundtracks

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