The Lord of the Rings: The Fellowship of the Ring’ Mistakes You’ll Never Be Able to Unsee

Even a film as lovingly crafted as ‘The Lord of the Rings: The Fellowship of the Ring’ slips in a few production hiccups. Most are tiny continuity blips or practical effects artifacts that vanish once the story sweeps you along. Look closely though and you will spot little mismatches that reveal how scenes were stitched together from many angles and many takes.

These moments come from prop swaps, lighting resets, scale tricks, and a mix of real stunts and soft safety gear. None of them hurt the story, yet they are catnip for sharp eyed viewers who enjoy the nuts and bolts of filmmaking. Here are ten specific goofs from ‘The Fellowship of the Ring’ that you can actually spot if you pause and check the frames around them.

Sting not glowing during the Amon Hen ambush

During the skirmish at Amon Hen, Uruk hai close in on the Fellowship while Frodo draws Sting. The blade is known for shining when enemies are near, yet in several shots the sword sits dull while armed foes fill the clearing. This creates a mismatch with earlier scenes in Moria where the glow clearly warns of goblins before the cave troll arrives.

The likely reason is a mix of second unit material and practical limitations. The glow effect was often added later and some wide shots used blades without on set lighting rigs. When cuts jump between plates with and without the effect, the visual warning disappears even though the threat is right there in the frame.

Aragorn’s sword flexing like rubber in the Weathertop fight

When Aragorn charges the Ringwraiths at Weathertop, one swing reveals his blade bending in a way real steel would not. The prop needed to be safe around performers and flame elements, so a flexible version was used for close quarters swings and fast passes near camera.

Because the moment is cut into a flurry of action, the bend becomes visible only for a beat. The production alternated hero metal swords for wider shots and softer stunt versions for strikes and near misses, and the quick interchange exposes the safety prop in motion.

The One Ring changing size on the chain and on Frodo’s hand

Throughout the journey the Ring appears on a fine chain around Frodo’s neck. In some close ups the chain sits longer or shorter from one cut to the next and the Ring itself looks larger in insert shots than in medium frames. When Frodo catches it or when it drops onto a surface, the diameter can seem different compared with the previous angle.

Multiple hero Rings existed for photography. An oversized Ring was used for extreme close ups to capture crisp engravings and reflections, while a smaller lightweight copy worked better for running and stunt work. Swapping between these pieces across different setups leads to subtle size shifts within the same scene.

Snow continuity drifting on Caradhras

As the Fellowship climbs Caradhras, flakes stick to cloaks and hair, then vanish or rearrange a moment later when the camera moves closer. Snow buildup on shoulders can jump from heavy to light between a wide shot and a reaction shot, even though only seconds pass in story time.

Those sections combined real locations, stage work, and snow machines. Wardrobe teams try to match snow placement between takes, yet wind, movement, and heat from lighting alter what sticks. When editorial favors the best performances from different passes, the level of frost and flurry patterns do not always match.

Scale inconsistencies for hobbits in the Prancing Pony and in Rivendell

Forced perspective, scale doubles, and oversized set pieces create the height difference between hobbits and taller characters. In a few cuts inside the Prancing Pony, tableware and tankards around the hobbits shift size relative to their hands, and a background figure can appear closer to human height than in surrounding shots. Similar hiccups pop up during walk and talk moments in Rivendell courtyard paths.

These hiccups happen because different techniques were used from shot to shot. A tight dialogue insert might rely on a body double or a partial giant prop, while the reverse angle returns to a standard set with perspective tricks. When these elements intercut, relative sizes can creep out of perfect alignment.

Cave troll wound and mithril shirt damage not matching perfectly

In the Moria battle, the cave troll thrust lands squarely and Frodo collapses. Later by the riverbank he reveals the mithril shirt and the puncture pattern does not perfectly match the look and angle of the earlier impact. The hole size and the deformation of links vary slightly when the shirt is handled.

Different shirts served different tasks. One was rigged for safe impact gags and hidden padding, while another was tailored for a clear reveal of damaged rings. Under changing light and handling, the layout of the dented area looks a bit different when compared frame by frame against the strike.

Book of Mazarbul page position shifting while Gandalf reads

Inside Balin’s tomb, Gandalf leafs through the chronicle that tells of the colony’s fall. The number of pages resting on each side and the exact page spread move between angles, even when the camera cuts in the middle of a single line that he reads aloud. The edge tears and stains also slide to new spots from wide to close.

This occurs because multiple copies and resets were required for coverage. The scene was filmed over several setups and the prop had to be re opened to specific entries for inserts. Continuity photographs guide placement, but when the pages are distressed and fragile, tiny shifts lead to visible changes on screen.

Council of Elrond chain length and pedestal placement changing

During the Council in Rivendell, the Ring rests on a low pedestal as arguments rise. In alternating shots the chain length next to the Ring and the exact tilt of the pendant vary. The position of the Ring across the pedestal face also drifts slightly as the camera alternates speakers.

Insert units gathered close ups at separate times from the main dialogue, and crew adjusted the chain for best composition within each frame. When these inserts are woven into the conversation, the layout of metal loops and the resting point of the Ring do not always match the previous angle.

Blood and grime continuity during the fight with Lurtz

As Aragorn clashes with Lurtz, blood smears and dirt marks on faces and armor swap patterns between fast cuts. A cheek streak can appear heavier, then lighter a moment later when the camera moves to a different side, and spatter on Lurtz’s torso shifts shape between impact shots and reaction shots.

Action sequences often span many shooting days, with makeup reapplied under rain towers and heavy movement. Stunt beats are captured from multiple directions for safety and clarity. When editorial crafts a clean geography of the fight, the precise state of grime lands a little differently from take to take.

Sam’s gear continuity when he charges into the Anduin

At the end of the film, Frodo takes the boat and Sam wades in after him. Across the cuts as Sam stumbles underwater and resurfaces, the arrangement of straps and gear on his shoulders is not always the same. A shoulder strap can ride high in one angle and drop or twist in the next even though only moments pass in the story.

Water scenes are tough on wardrobe. Safety divers help performers up between takes and sodden straps slip under weight. When editors choose the clearest performances for emotion and timing, the backpack rig can shift position between adjoining shots.

Share the tiny mistake that jumped out at you first in the comments so other fans of ‘The Fellowship of the Ring’ can hunt for it too.