‘The Godfather’ Mistakes You’ll Never Be Able to Unsee

Even a masterpiece like ‘The Godfather’ isn’t immune to little continuity slips and production hiccups. Most are blink-and-you-miss-them details—continuity resets between cuts, props that move, and practical effects you can spot if you know where to look. None of these change the story, but once you notice them, they tend to stick. Here are ten of the most talked-about goofs sprinkled through Coppola’s classic so you can spot them on your next rewatch.

Sonny’s Infamous Alley Punch That Never Lands

During Sonny’s sidewalk beatdown of Carlo, a wide shot clearly shows one of Sonny’s big haymakers missing Carlo by a noticeable margin. The sound effect still plays as if it connected, which makes the miss stand out even more. Look near the trash cans as Sonny cocks back and swings—the gap between fist and face is obvious. Close-ups resume right after, masking the distance in the next angles.

Bullet Holes on Sonny’s Car Before the Ambush

At the tollbooth, keen eyes can spot bullet holes on Sonny’s sedan before the gunmen actually open fire. These are pre-rigged squib marks placed for the effects team to sync the barrage. In certain angles just as the car rolls to a stop, the punctures are faintly visible along the body panels. When the ambush begins, those same spots erupt, revealing how the sequence was staged.

Vito’s Office: The Cat That Won’t Sit Still

In the opening office scene, the stray cat on Vito’s lap changes position and posture between cuts. One moment it’s curled contentedly; the next it’s upright or facing a different direction as the conversation continues. The cat also appears and disappears from Vito’s hands as angles switch. These shifts come from multiple takes stitched across the long dialogue.

Restaurant Hit: Table Settings That Shuffle

During Michael’s dinner with Sollozzo and McCluskey, the table setup subtly rearranges between shots. Watch the bread plate, napkin, and wine glass—they jump positions across over-the-shoulder angles. The liquid level in glasses also varies from cut to cut as the conversation escalates. These are classic continuity resets caused by retakes and insert shots.

Hospital Visit: Michael’s Hat and Coat Jump

When Michael arrives at the hospital to check on his father, the placement of his hat and coat changes between exterior and interior cuts. He moves quickly through doors, but the edits make accessories swap hands and angles unexpectedly. In one shot he’s gripping the hat brim; in the next it’s tucked differently or not visible at all. The sequence was covered from multiple positions, leading to mismatched hand props.

Market Shooting: Vito’s Fedora and Fruit Scatter

At the street-market attack, Vito’s fedora and the arrangement of fallen oranges don’t stay consistent. After the first volley, the hat lands one way; a moment later it rests at a slightly different angle near his shoulder. Oranges roll into view, then reappear closer or farther in subsequent cuts. The quick intercutting of wide and close shots makes these resets noticeable.

Luca Brasi’s Strangling: Wire Telegraphed Early

In the bar scene where Luca is garroted, you can glimpse the wire before it tightens around his neck. A brief angle over the attacker’s shoulder shows the line positioned and ready. The following close-up sells the sudden choke, but that early peek gives away the setup. It’s a byproduct of staging the stunt safely while keeping the camera close.

Woltz’s Bedroom: Bed Linens That Rearrange

When Woltz wakes to discover the horse’s head, the bedding and pillow positions don’t stay fixed as he thrashes. A sheet that’s bunched near his chest jumps toward the headboard in the next cut. Pillows also trade places between screams, especially as the camera cuts from the head to Woltz and back. Practical gore work and multiple takes required resetting the linens, causing the discrepancies.

Moe Greene’s Glasses: Blood Pattern Swaps

During the montage of reprisals, the blood spray and cracks on Moe Greene’s glasses change across cuts. The initial shot shows a distinct break and spatter pattern that looks different in the reverse angle. When the camera returns, the marks shift again, suggesting multiple prop versions. These swaps are common when matching squib hits to editorial timing.

Closing Door: Kay’s Position Shifts

In the final hallway exchange, Kay’s stance and the way her hands rest change slightly as the door closes. One angle has her squared to the doorway; the reverse shows a different shoulder line and hand placement. As the door nears the frame, her silhouette appears closer in one shot than the next. The scene’s intercut perspectives make those small position resets stand out.

Think we missed your “can’t-unsee-it” goof from ‘The Godfather’? Drop your favorite spot-the-mistake moment in the comments!