Tag: wilhelm scream
Directors: Ron Clements, John Musker
Length: 90 min
Gross: $479,400,000 (Worldwide)
IMDb: 7.70 (41774 votes)
Scott Weinger (Aladdin), Robin Williams (Genie), Linda Larkin (Jasmine), Jonathan Freeman (Jafar), Frank Welker (Abu), Gilbert Gottfried (Iago), Douglas Seale (Sultan), Bruce Adler (Narrator/Merchant), Brad Kane (Aladdin), Lea Salonga (Jasmine), Charles Adler (Additional Voices), Jack Angel (Additional Voices), Corey Burton (Additional Voices), Philip L. Clarke (Additional Voices), Jim Cummings (Razoul/Head Palace Guard)
Aladdin is a street-urchin who lives in a large and busy town long ago with his faithful monkey friend Abu. When Princess Jasmine gets tired of being forced to remain in the palace that overlooks the city, she sneaks out to the marketplace, where she accidentally meets Aladdin. Under the orders of the evil Jafar (the sultan’s advisor), Aladdin is thrown in jail and becomes caught up in Jafar’s plot to rule the land with the aid of a mysterious lamp. Legend has it that only a person who is a “diamond in the rough” can retrieve the lamp from the Cave of Wonders. Aladdin might fight that description, but that’s not enough to marry the princess, who must (by law) marry a prince.
- Sultan: Prince Ali Ababwa! Of course! I’m delighted to meet you.
[he shakes Aladdin's hand]
Sultan: This is my royal vizier, Jafar. He’s delighted, too.
Jafar: [*very* dryly] Ecstatic.
- Jafar: Just where did you say you were from?
Aladdin: Oh, uh-uh, much farther than you’ve traveled, I’m sure.
Jafar: Try me.
- Jafar: I think it’s time to say goodbye to Prince A-boo-boo.
- [first lines]
Merchant: Ahh! Salam and good evening to you worthy friend. Please, please come closer.
[camera hits him in the face]
Merchant: Too close! A little too close.
[camera backs up]
Merchant: There! Welcome to Agrabah!
- Genie: I’m telling you, nice to be back, ladies and gentlemen. Hi! Where you from? What’s your name?
Aladdin: Uh… A-A-Aladdin.
Genie: Aladdin! Hello, Aladdin. Nice to have you on the show. Can we call you Al, or maybe just Din? Or, how ’bout Laddie? [turns into a Scotsman] It sounds like, “Here, boy!” [whistles] C’mon, Laddie! [turns into a dog]
Aladdin: I must’ve hit my head harder than I thought.
- Merchant: Welcome to Agrabah. City of mystery, of enchantment. And the finest merchandise this side of the river Jordan! On sale today! Come on down.
- Princess Jasmine: Father, I choose Prince Ali!
Jafar: Prince Ali left!
[shows Aladdin standing in the doorway to the balcony]
Aladdin: Better check your crystal ball again, Jafar!
Princess Jasmine: Prince Ali!
Iago: How in the he- Uh, awk!
- [last lines]
Genie: Made you look.
- [leaving to go travel the world]
Genie: I’m history! No, I’m mythology! Nah, I don’t care what I am, I’m free!
- Sultan: Jasmine? Jasmine? Jasmine? [suddenly a tiger rears up in front of the sultan with a rag in his mouth] Confound it, Rajah! [takes rag out of mouth] So! This is why Prince Achmed stormed out?
Princess Jasmine: Oh, father. Rajah was just playing with him. Weren’t you, Rajah? You were just playing with that over-dressed, self-absorbed Prince Achmed, weren’t you?
- Jafar: You’re speechless, I see. A fine quality in a wife.
- Jafar: I think it’s time to say goodbye to Prince Abubu.
- Genie: [on the magic carpet] In case of emergency, the exits are here, here, here, here, here, here, here, here anywhere! Keep your hands and arms inside the carpet! We’re outta here!
- Jafar: [hypnotizing the Sultan with his snake staff] You will order the Princess to marry me.
Sultan: [hypnotized] I will order the Princess to… [suddenly breaks out of the trance] But you’re so *old*!
- [Aladdin has nearly drowned, and his unconscious body falls and rubs on the lamp]
Genie: [appearing as a guy in a bathtub] Never fails! You get in the bath and there’s a rub at the lamp. [squeaks rubber duckie] Hello? [sees Aladdin] Al? Al! Kid! Snap out of it! Oh, you can’t cheat on this one. I can’t help you unless you make a wish. You have to say, “Genie, I want you to save my life,” got it? Okay! [shakes Aladdin] C’mon, Aladdin! [Aladdin's head droops] I’ll take that as a yes.
[he changes into a submarine and pulls Aladdin out of the sea]
- [Princess Jasmine is in disguise, and hanging out with Aladdin; the guards capture him]
Princess Jasmine: Let him go.
Razoul: Looky here, men. A street *mouse*.
[throws her down]
Princess Jasmine: Unhand him, [pulls off the hood of her cloak] by order of the Princess.
Razoul: Princess Jasmine.
Aladdin: The Princess?
Razoul: What are you doing outside the palace? And with this street rat?
Princess Jasmine: That’s not your concern. Do as I command. Release him.
Razoul: Well, I would, Princess, except my orders come from Jafar. You’ll have to take it up with him.
Princess Jasmine: Believe me, I will.
- Princess Jasmine: [to Jafar] At least some good will come of my being forced to marry. When I am Queen, I will have the power to get rid of *you*.
Sultan: Well, now. That’s nice. All settled then. Now, Jasmine, getting back to this suitor business… Jasmine? Jasmine!
[the Sultan notices that Jasmine is running out of the room, and runs after]
Jafar: If only I had gotten that lamp.
Iago: [mocking Jasmine] “I will have the power to get rid of you.” Grrrr. To think we gotta keep kissin’ up to that chump, and his chump daughter, for the rest of our lives…
Jafar: No, Iago. Only until she finds a chump husband. Then she’ll have us banished. Or… beheaded.
Jafar, Iago: Ewwww.
Iago: Oh, wait a minute, wait a minute! Jafar, what if *you* were the chump husband?
Iago: Okay, okay. *You* marry the princess, all right? And-and, uh, you- Then *you* become the sultan!
Jafar: Ah. Marry the shrew. I become sultan. The idea has merit.
Iago: Yes, merit. Yes! And then, we drop papa-in-law and the little woman off a cliff… ?Yaaaah! Kersplat!”
Jafar: [laughs] I love the way your foul little mind works.
- Aladdin: Look at that, Abu, it’s not everyday you see a horse with two rear ends.
- Genie: Al, no problem. You’ve still got one wish left. Just say the word and you’re a prince again.
Aladdin: But Genie, what about your freedom?
Genie: Hey, it’s only an eternity of servitude. This is love. Al, you’re not gonna find another girl like her in a million years. Believe me, I know. I’ve looked.
- Genie: Enough about you, Casanova. Talk about her.
Genie: She’s smart, fun. The hair, the eyes. Anything. Pick a feature.
- Aladdin: [singing] Let’s not be too hasty!
Heavyset Harlem: [scoops Aladdin up in her arms and sings] Still I think he’s rather tasty!
- Aladdin: [hanging from the entrance of the Cave of Wonders] Help me out!
Jafar: Hand over the lamp!
Aladdin: I can’t hold on! Give me your hand!
Jafar: First give me the lamp! [Aladdin throws him the lamp] Yes! At last! [Grabs Aladdin's wrist]
Aladdin: What are you doing?
Jafar: Giving you your reward. [pulls out a dagger] Your eternal reward!
[Jafar is about to stab Aladdin when Abu bites him, forcing him to drop the dagger; He throws Abu in just as the Cave closes]
Jafar: It’s mine! it’s all mine! [searches for the lamp, but can't find it] Where is it? No. Nooo!
- Aladdin: Are you afraid to fight me yourself, you cowardly snake?
Jafar: A snake, am I? Perhaps you’d like to see how sss-snake-like I can be. [he changes into one, and his voice changes with it, too]
- Merchant: [holds up lamp] Do not be fooled by its commonplace appearance. Like so many things, it is not what outside, but what is inside that counts. This is no ordinary lamp. It once changed the course of a young man’s life. A young man, who, like this lamp, was more than what he seemed. A diamond in the rough.
- Aladdin: Princess Jasmine, you’re very…
Genie: Wonderful! Magnificent! Glorious!… Punctual!
Princess Jasmine: Punctual?
Aladdin: Uh… uh… beautiful!
Genie: Nice recovery.
- Aladdin: Wait-wait a minute. I’m your master?
Genie: [gives Aladdin a mortar cap and diploma] That’s right! He can be taught!
- Princess Jasmine: Please, try to understand. I’ve never done a thing on my own. I’ve never had any real friends. [Rajah grumbles] Except you, Rajah. I’ve never even been outside the palace walls.
Sultan: But, Jasmine, you’re a princess.
Princess Jasmine: Then maybe I don’t wanna be a princess anymore.
Sultan: [exasperated] Ooooh! I-I- [to Rajah] Allah forbid you should have any daughters!
- Aladdin: So, three wishes. I want them to be good… what would you wish for?
Genie: Me? No one’s ever asked me that before. Well, in my case… ah, forget it.
Genie: No, I can’t. I…
Aladdin: Come on, tell me.
Genie: [sigh] Freedom.
- Aladdin: [saving Jasmine from an irate merchant] Thank you, kind sir. I’m so glad you found her. I’ve been looking all over for you.
Princess Jasmine: [whispering] What are you doing?
Aladdin: [whispering] Just play along.
Man in market: You, uh, know this girl?
Aladdin: Sadly, yes. She is my sister. She’s a little crazy.
Man in market: She said she knew the sultan.
Aladdin: She thinks the monkey is the sultan.
Princess Jasmine: [bowing to Abu] Oh, wise sultan, how may I serve you?
Aladdin: Tragic, isn’t it? But, no harm done. Now, come along, sis. Time to go see the doctor.
Princess Jasmine: [to a camel] Oh, hello, doctor. How are you?
Aladdin: No, no, no. Not that one.
- Woman: Getting into trouble a little early today, aren’t we, Aladdin?
Aladdin: Trouble? No way. You’re only in trouble if you get caught.
Aladdin: I’m in trouble.
- Genie: You know Al, I’m getting really – [turns and sees Jafar] I don’t think you’re him.
- Aladdin: You’re a prisoner?
Genie: It’s all part and parcel, the whole “genie gig”
:[grows to a gigantic size]
Genie: PHENOMENAL COSMIC POWERS!
[shrinks down inside the lamp]
Genie: Itty-bitty living space!
- Iago: Oooooh, nice shot, Jafa- [Abu whacks him over the head]
- Jafar: Get your blasted beak out of my face!
Iago: Oh, shut up, you moron!
Jafar: Don’t tell ME to shut up!
Genie: Allow me. Ten thousand years in the Cave of Wonders outta chill him out! [flicks them into the distance]
- Iago: [Jafar is just being turned into a sorceror] Ladies and gentlemen, a warm Agrabah welcome for Sorceror Jafar!
- Jafar: You little fool. You thought you could defeat the most powerful being on Earth.
Iago: Squeeze him, Jafar. Squeeze him like a…
[the Genie slaps Iago into the air]
Jafar: Without the genie, boy, you’re nothing.
Aladdin: The genie. The genie! The genie has more power than you’ll ever have.
Aladdin: He gave you your power. He can take it away.
Genie: Al, what are you doing? Why are you bringing me into this?
Aladdin: Face it, Jafar. You’re still just second best.
Jafar: You’re right. His power does exceed my own. But not for long.
Genie: The boy is crazy. He’s a little punch-drunk. One too many hits with the snake.
Jafar: Slave, I make my third wish. I wish to be an all-powerful genie.
Genie: All right. Your wish is my command. Way to go, Al.
- Genie: Oh, Al. I’m gettin’ kinda fond of you, kid. Not that I wanna pick out curtains or anything.
- Princess Jasmine: It all so magical.
Princess Jasmine: It’s a shame Abu had to miss this.
Aladdin: Nah. He hates fireworks, and he really doesn’t like flying either… That is, um… Oh, no.
Princess Jasmine: [takes off Aladdin's turban] You are the boy from the market place. I knew it! Why did you lie to me?
Aladdin: Jasmine, I’m sorry!
Princess Jasmine: Did you think I was stupid?
Princess Jasmine: Did you think I wouldn’t find out?
Aladdin: No! I mean, I was hoping you wouldn’t… that’s not what I meant…
Princess Jasmine: Who are you? Tell me the truth.
Aladdin: The truth? The truth… The truth is I sometimes pass myeslf off as a commoner to escape the pressures of palace life. But I really am a prince.
Princess Jasmine: Why didn’t you tell me?
Aladdin: Well, a prince walking around the marketplace? Sounds a little strange, doesn’t it?
Princess Jasmine: Not that strange.
- Iago: [taking the lamp] Boy, Jafar’s gonna be happy to see you.
Iago: [as Jafar] Excellent work, Iago.
Iago: Ah, go on.
Iago: [as Jafar] No, really. On a scale of one to ten, you are an eleven.
Iago: Oh, Jafar, you’re too kind. I’m embarrassed. I’m blushing.
- [last lines after credits]
Genie: You have been a fabulous audience! Tell you what, you’re the best audience in the whole world. Take care of yourselves! Good night, Alice! Good night, Agrabah! Adios, amigos!
- Iago: Oh, boy. He’s cracked. He’s gone nuts. Jafar. Jafar! Get a grip!
[Jafar grabs Iago by the throat]
Iago: Ack! Good grip.
- Jafar: Sire, I must intercede on Jasmine’s behalf. This boy is no different than the others. What makes him think he is worthy of the princess?
Aladdin: Your majesty, I am Prince Ali Ababwa. Just let her meet me. I will win your daughter.
Princess Jasmine: How dare you? All of you! Standing around deciding my future. I am not a prize to be won!
- [Iago is disguised as a flamingo. He turns around and finds a real flamingo smiling in his face]
Iago: You got a problem…
[he trips the flamingo with his stilts]
- Jafar: How many times do I have to kill you, boy?
- Aladdin: All this for a loaf of bread?
- Genie: I’m free. I’m free. Quick. Quick, wish for something outrageous. Say, “I-I want the Nile.” Wish for the Nile. Try that.
Aladdin: Uh, I wish for the Nile.
Genie: No way! [laughs] Oh, does that feels good!
- Aladdin: [picking up the lamp] This is it? This is what we came all the way down here to… [sees Abu taking a ruby] Abu! No!
Cave of Wonders: Infidels!
Abu the Monkey: Uh, oh.
Cave of Wonders: You have touched the forbidden treasure! Now, now you will never again see the light of day!
- Genie: [as tailor] First, that fez-and-vest combo is much too third-century. These patches. What are we trying to say? Beggar? No. Let’s work with me here.
[after taking measurements, turns Aladdin's rags into fine clothes]
Genie: Ooh, I like it! Muy macho!
- Iago: Ladies and gentlemen, a warm Agrabah welcome for Sorcerer Jafar!
Jafar: Now where were we? Ah, yes – abject humiliation! [He zaps Jasmine and the Sultan with his staff, and they both bow to him. Rajah comes running at him. He zaps Rajah, and the tiger turns into a kitty-cat] Down, boy! Oh, princess, [lifts Jasmine's chin with his staff] there’s someone I’m dying to introduce you to.
Aladdin: [Flying towards him on carpet] Jafar! Get your hands off her!
Jafar: [zaps Aladdin, Carpet flies away. Singing] Prince Ali, yes, it is he, but not as you know him. Read my lips and come to grips with reality [brings Aladdin and Jasmine closer in the air] Yes, meet a blast from your past, whose lies were too good to last! Say hello to your precious Prince Ali! [zaps Ali back to Aladdin as he says it]
Iago: Or should we say Aladdin?
Princess Jasmine: [shocked] Ali
Aladdin: Jasmine, I tried to tell you.
Jafar: [still singing] So Ali turns out to be merely Aladdin [turns Abu back to his normal self] Just a con, need I go on? Take it from me his personality flaws give me adequate cause to send him packing on a one-way trip [sends Aladdin and Abu in a pillar, carpet flies in after the,] so his prospects take a terminal dip his assets frozen, the venue chosen is the ends of the earth, [sends the pillar in the air] whoopee! So long,
Iago: Good bye, see ya!
Jafar: [sings] Ex-Prince Ali! [laughs maniacly]
- Genie: [turns into a cheerleader] Rick ‘em, rack ‘em, rock ‘em, rake. Stick that sword into that snake!
Jafar: You stay out of thissss!
Genie: [Weakly] Jafar, Jafar, he’s our man. If he can’t do it, GREAT!
- [Abu is swinging a stolen sword at the guards]
Guard: [frightened] He’s got a sword.
Razoul: You idiots. We’ve all got swords.
- Aladdin: They wanna make me Sultan. No, they want to make Prince Ali Sultan. Without you, I’m just Aladdin.
Genie: Al, you won.
Aladdin: Because of you. The only reason anyone thinks I’m worth anything is because of you. What if they find out I’m not really a prince? What if Jasmine finds out? I’d lose her. Genie, I can’t keep this up on my own. I-I can’t wish you free.
Genie: Fine, I understand. [shrinking into his lamp] After all, you’ve lied to everyone else. Hey, I was beginning to feel left out. [angrily] Now, if you’ll excuse me… *master*… [disappears into his lamp resentfully]
- Merchant: Look at this! Yes! Heh, heh. Combination hookah and coffee maker, also makes Julienne fries. Will not break! [taps it on table] Will not- [it falls apart] It broke!
- [Prince Achmed is storming out of the Palace after being rejected by Princess Jasmine]
Prince Achmed: Oh, I’ve never been a so insulted Prince!
Sultan: Achmed, you’re-you’re not leaving so soon, are you?
Prince Achmed: [walks away, pants at the butt area are ripped off, revealing spotted underwear] Good luck marrying her off!
- Guard: You won’t get away so easy.
Aladdin: You think that was easy?
- [Abu goes crazy and leaps onto Aladdin's head]
Aladdin: Abu, this is no time to panic!
[sees that they're about to hit a wall]
Aladdin: Start panicking!
- [as a female tour guide]
Genie: Thank you for choosing “Magic Carpet” for all your travel needs. Don’t stand until the rug has come to a complete stop. Thank you. Goodbye, now. Goodbye. Goodbye, thank you. Goodbye.
[back to normal]
Genie: Well, how about *that*, Mr. Doubting Mustafa?
Aladdin: Oh, you sure showed me. Now about my three wishes…
Genie: Dost mine ears deceive me? “Three?” You are down by one, boy!
Aladdin: Ah, no, I never actually wished to get out of the cave. Heh. You did that on your own.
[the Genie's mouth drops]
Genie: Oh. Well I feel sheepish.
[turns into a sheep]
Genie: All right, you baaaaaad boy. But no more freebies.
- Genie: So what’ll it be, master?
Aladdin: You’re gonna grant me any 3 wishes I want, right?
Genie: [imitating William F. Buckley] Uh, ah, almost. There are a few, uh, provisos. Ah, a couple of quid pro quo.
Genie: [normally] Uh, rule #1, I can’t kill anybody. [cuts his head off] So don’t ask. A-rule #2! [fixes his head] I can’t make anybody fall in love with anybody else. [smooches Aladdin] You little punim there. RULE #3! [turns into a slimy Genie, and imitating Peter Lorre] I can’t bring people back from the dead. It’s not a pretty picture. I DON’T LIKE DOING IT! [he returns to normal]
Genie: Other than that, you got it!
- Iago: Look at this. I’m so ticked off that I’m molting.
- Aladdin: Provisos? You mean limitations? On wishes? Huh. Some all-powerful Genie. Can’t even bring people back from the dead. I don’t know, Abu. He probably can’t even get us out of this cave. Looks like *we’re* gonna have to find a way outta here.
Genie: Excuse me? Are you lookin’ at me? Did you rub my lamp? Did you wake me up? Did you bring me here? And all of a sudden you’re walking out on me? I don’t think so, not right now. You’re getting your wishes, so sit down!
- Merchant: Ooh, look at this. I have never seen one of these intact before. This is the famous Dead Sea Tupperware. Listen. Pbbtt! Ah, still fresh.
- Genie: [as Jack Nicholson] All right, sparky, here’s the deal. If you wanna court the little lady, ya gotta be a straight shooter. Do ya got it?
Genie: [pointing to each word on a blackboard] Tell… her… the *truth*!
- Genie: Oi! Ten thousand years will give you such a crick in the neck.
- Genie: But oh, to be free. Not to have to go “Poof! Whaddaya need,” “Poof! Whaddaya need,” “Poof! Whaddaya need?”. To be my own master. Such a thing would be greater than all the magic and all the treasures in all the world. But what am I talking about? Let’s get real here, that’s never gonna happen. Genie, wake up and smell the hummus.
- Razoul: [to Aladdin] We just keep running into each other, don’t we, street rat?
- Jafar: You are late.
Gazeem: A thousand apologies, O Patient One.
- Aladdin: [singing] Riffraff. Street Rat. I don’t buy that! If only they’d look closer… Would they see a poor boy? No sir-ee! They’d find out there’s so much more to me!
Aladdin: [sighs, no longer singing] Someday, Abu, things are gonna change. We’ll be rich, live in a palace, and never have any problems at all.
- Genie: What would you wish of me? [as Arnold Schwarzenegger] The ever impressive… [as if trapped in a box]… the long-contained… [as SeÒor Wences]… the often immitated, but never… [multiplies himself]… duplicated… duplicated… duplicated… duplicated… Genie of the Lamp! [as Ed Sullivan] Right here, direct from the lamp. Right here for your very much wish-fulfillment. Thank you.
- Aladdin: Wow. The palace looks pretty amazing, huh?
Princess Jasmine: [disappointed] Oh, it’s wonderful.
Aladdin: I wonder what it’d be like to live there, and have servants and valets.
Princess Jasmine: Oh, sure. People who tell you where to go and how to dress.
Aladdin: That’s better than here. You’re always scraping for food and ducking the guards.
Princess Jasmine: You’re not free to make your own choices.
Aladdin: Sometimes you feel so…
Princess Jasmine: You’re just…
Aladdin, Princess Jasmine: …trapped.
- Iago: I can’t take it anymore! If I gotta choke down on one more of those moldy, disgusting crackers… Bam! Whack!
Jafar: Calm yourself, Iago.
Iago: And then I’d grab him around the head. Whack, whack!
Jafar: Soon I will be sultan, not that addlepated twit.
Iago: And then I stuff the crackers down *his* throat.
- Genie: No matter what anyone else says, you’ll always be a prince to me.
Sultan: That’s right. You’ve certainly proven your worth as far as I’m concerned. It’s the law that’s the problem.
Princess Jasmine: Father?
Sultan: Well, am I sultan, or am I sultan? From this day forth, the princess shall marry whomever she deems worthy!
Princess Jasmine: Him! I choose… I choose you, Aladdin.
Aladdin: Call me Al.
- [the Genie and the flying carpet are playing chess]
Genie: So, move. [the carpet makes a move] Hey! That’s a good move. [as Rodney Dangerfield] I can’t believe it. I’m losin’ to a rug.
- Prince Achmed: You are a worthless street rat. You were born a street rat, you’ll die a street rat, and only your fleas will mourn you.
Aladdin: I’m not worthless! And I don’t have fleas!
[Aladdin scratches his head]
- Genie: Rule number three, I can’t bring people back from the dead. It’s not a pretty picture. I don’t like doing it!
- Jafar: Patience Iago, patience. Gazeem was obviously less than worthy.
Iago: Oh there’s a big surprise! That’s an incredible – I think I’m going to have a heart attack and die of not surprise!
- [worried about Jasmine's refusal to choose a suitor]
Sultan: I don’t know where she gets it from. Her mother wasn’t nearly so picky.
- Aladdin: Genie, I wish for your freedom.
Genie: One bona fide prince pedigree coming up. I – what?
Aladdin: [He holds the lamp up to Genie] Genie, you’re free!
- Cave of Wonders: Who disturbs my slumber?
- Sultan: Jafar, you vile betrayer.
Iago: That’s Sultan Vile Betrayer to you.
- [Iago is powering a mystic device by footpower]
Iago: With all due respect, Your Rottenness, couldn’t we just wait for a *real* storm?
Jafar: Save your breath, Iago. Faster!
Iago: Yes, O Mighty Evil One.
- Genie: Yo, Rugman! Haven’t seen you in a few millennia. Give me some tassel.
- Genie: [looks at a script] Tonight, the part of Al will be played by a tall, dark and sinister ugly man.
- Genie: Your line is “I’m going to FREE the Genie!” Anytime!
- Jafar: [disguised as prisoner] You’ve heard of the golden rule, haven’t you? Whoever has the gold makes the rules.
[smiles showing his hideous teeth]
- Aladdin: Wish fulfillment?
Genie: Three wishes, to be exact. And ixnay on the wishing for more wishes. That’s all. Three. Uno, dos, tres. No substitutions, exchanges or refunds.
- Genie: I can’t help you, I work for Senor Psychopath now!
- Genie: Say, you’re a lot smaller than my last master. Either that, or I’m getting bigger. Look at me from the side. Do I look different to you?
- This film became the 14th (and the first animated movie) to gross more than $200,000,000.
- Jafar at first was more hot-tempered, while Iago was a cool, haughty British type. The filmakers felt that having Jafar losing his temper too much made him less menacing, so the personalities of the two characters were switched around.
- A rumor circulated in late 2001 that during Aladdin’s balcony scene he says, “Take off your clothes.” He is talking to Raja at the time, and his exact words are, “Nice kitty, take off and go, go on.” This has been cut in the DVD version.
- SPOILER: When Aladdin puts Jafar back into the lamp, the spell on the other characters is broken – the Magic Carpet gets returned to normal, and Jasmine’s dress turns back from red to blue. Start watching when Jasmine’s tiger cub jumps into the Sultan’s arms. When the cub hits his arms and starts to grow back into a tiger, just before he becomes normal, the tiger’s face appears as Mickey Mouse for one frame.
- The stack of wooden toy animals that Jasmine’s father plays with is sitting on a toy of the Beast from Beauty and the Beast (1991), another Disney animated movie. Sebastian from The Little Mermaid (1989) and Pinocchio (1940) can also be spotted.
- Production designer ‘Richard Vander Wende’ devised a simple color scheme for the film, inspired by its desert setting. Blue (water) stands for good, red (heat) for evil, and yellow (sand) is neutral. For example, the villainous Jafar is clad in blacks and reds, while the virtuous Jasmine wears blue. Another example is in the Cave of Wonders, where the lamp’s chamber is blue, and the ruby that tempts Abu is bright red.
- Scheduling conflicts with “Star Trek: The Next Generation” (1987) forced ‘Patrick Stewart’ to turn down the role of Jafar. He has said in interviews that this is his biggest regret.
- In the throne scenes, the decorations at the top of the columns are the same designs used for Mrs. Potts and her teacups in Beauty and the Beast (1991).
- WILHELM SCREAM: As the villagers flee in terror when the Genie (under Jafar’s control) lifts the palace into the air.
- The idea of adapting the Aladdin story as a Disney animated musical was first proposed by ‘Howard Ashman’ in 1988 at the time that he and ‘Alan Menken’ were still working on The Little Mermaid (1989) and before work had begun on Beauty and the Beast (1991). Ashman wrote an initial treatment for the project and collaborated on six songs with Menken. When ‘John Musker’ and ‘Ron Clements’ finished directing duties on The Little Mermaid, they turned their attention to writing a first draft of this film’s script, and eventually became its directors.
- During script and storyboard development, the writers were already considering ‘Robin Williams’ for the role of the Genie but had not approached him for the project. In order to convince Williams to do the role, ‘Eric Goldberg’ animated the Genie doing several minutes of Williams’s stand-up routines and screened it for him. Williams was so impressed that he signed almost immediately.
- The Islamic cultural setting of the film is directly referenced to several times throughout the film. Such examples include when The Sultan yells “Praise Allah” when he realizes that Jasmine wants to marry Prince Ali/Aladdin, when The Sultan says “Allah forbid you have any daughters!” when he is frustrated with Jasmine, and when the thief in the beginning says “By Allah” when he sees The Cave of Wonders.
- ‘Howard Ashman’ and ‘Alan Menken’ originally conceived the opening song “Arabian Nights” to be recurrent throughout the film, acting as narration. This idea was dropped when the visuals and storytelling proved strong enough in their own right.
- ‘Linda Woolverton’, who had written the screenplay to Beauty and the Beast (1991), did a first draft screenplay for “Aladdin”.
- On what came to be known among the Aladdin animators as Black Friday, then Disney head ‘Jeffrey Katzenberg’ told the team to scrap virtually everything they’d been working on for months and start all over again. He also refused to move the film’s release date. Directors ‘John Musker’ and ‘Ron Clements’ were able to completely turn around the film’s new plot and screenplay in just eight days.
- ‘Alan Menken’ had tentatively written a love song for Aladdin and Jasmine’s magic carpet ride called “The World at Your Feet”. When lyricist ‘Tim Rice’ came on board, he changed it to “A Whole New World”.
- The fireworks seen at the end of the film are reused special effects from The Rescuers (1977).
- Originally, the peddler who introduces the movie would be revealed to be the Genie at the end – hence the fact that ‘Robin Williams’ voiced him, too. Notice the similarities in the design of the two, especially the eyebrows, the beard and the four-fingered hands. (All the other human characters have five fingers.)
- ‘Andreas Deja’ based Jafar on ‘Marc Davis’’s design for Maleficent in Sleeping Beauty (1959). The two villains share more than just looks: both carry a staff which they use to execute evil magic; both have bird henchman (Maleficent’s is a raven, Jafar’s a parrot), and both turn themselves into gigantic animals in their respective films – Maleficent as a dragon, Jafar as a snake. UltimateDisney.com featured Maleficent and Jafar in their Top Villain Countdown at #1 and #2, respectively.
- When the film was first released on VHS in October 1993, it sold over 10.8 million copies in its first week and went on to sell over 25 million in total. This record stood for only two years when it was beaten by the release of The Lion King (1994).
- ‘Robin Williams’ recorded most of his scenes in between filming breaks on Hook (1991) and Toys (1992).
- In the preview screenings for the movie, nobody applauded after the big song numbers. The animators wanted applause and so somebody stuck the Genie with an “Applause” sign at the end of “Friend Like Me”. The joke worked and the sign was kept for the movie.
- When ‘Howard Ashman’ began work on the movie, he developed the story as a fast-paced comic adventure about a young boy trying to prove his worth to his parents. But, in 1991, Ashman died, and the story problems stalled the movie. So, the plot was reworked to be about a teenager, Aladdin, seeking self-respect instead of the approval of others.
- The two men in the crowd that Aladdin pushes through are caricatures of a couple of the directors (‘John Musker’ and ‘Ron Clements’); the original plan was to use film critics ‘Gene Siskel’ and ‘Roger Ebert’, but they couldn’t get permission.
- The opening scene with the street merchant was completely unscripted. ‘Robin Williams’ was brought into the sound stage and was asked to stand behind a table that had several objects on it and a bed sheet covering them all. The animators asked him to lift the sheet, and without looking take an object from the table and describe it in character. Much of the material in that recording session was not appropriate for a Disney film.
- Crazy Hakim, the “discount fertilizer” salesman in the opening chase, is a caricature of animator ‘Tom Sito’.
- The most successful film of 1992, earning over $217 million at the US box office and over $504 million worldwide.
- Aladdin’s personality and, initially, his look, were based on that of ‘Michael J. Fox’. In the film, Aladdin is chased by burly, unintelligent louts, who end up falling into a large pile of manure, which was much the situation of Fox’s Marty McFly in ‘Back to the Future (1985)’.
- To capture the movement of Aladdin’s low-cut baggy pants, animator ‘Glen Keane’ looked at videos of rap star ‘M.C. Hammer’.
- While filming this movie, ‘Robin Williams’ frequently received calls from ‘Steven Spielberg’ who at the time was working on Schindler’s List (1993). He would put him on speaker phone so he could tell jokes to the cast and crew to cheer them up. Some of the material that he used was material that he was using for this film.
- Some of the original songs before the story was rewritten and half of the characters were cut: “Proud of Your Boy” (suppose to be sung by Aladdin to his mother – later removed from the story – while she was sleeping); “Call Me A Princess”; “Omar, Babkak, Aladdin, Kassim”; “Humiliate The Boy” (sung by Jafar, cut as it was considered too cruel for the film); “High Adventure”; “Count on Me” (which was something Aladdin sung to his friends and family, then it was changed to “A Whole New World”).
- ‘Bill Plympton’ turned down a seven-figure offer to work on this film, because any ideas and concepts he developed for his other projects while under contract with Disney would become their intellectual property.
- This is (as of 2006) the only traditionally animated film to be nominated for the MTV Movie Award for best picture.
- Eight other songs were written for the film but were later removed.
- There are 513 people listed in the credits.
- Some of the Genie’s imitations were cut from the film, including ‘John Wayne’, ‘George Bush’ and Dr. ‘Ruth Westheimer’.
- When Aladdin asks Genie if he can make him into a prince, and Genie consults his “cookbook”, one of the things he pulls out of the book is Sebastian from The Little Mermaid (1989)
- In the original folktale, Aladdin is actually Chinese.
- In early visual development, Aladdin resembled ‘Michael J. Fox’. As the film developed, ‘Jeffrey Katzenberg’ didn’t think Aladdin had enough appeal to women, so he asked that Aladdin be beefed up a bit to resemble ‘Tom Cruise’.
- The second Disney animated feature to use fully rendered and textured 3-D CGI moving backgrounds in combination with the traditionally animated character animation, a technique that was expanded upon in the Disney short Off His Rockers (1992) and previously in Beauty and the Beast (1991). This led to the creation of “Deep Canvas” a brand-new technique created by Disney 7 years later for use in Tarzan (1999), which allows 2D hand-drawn characters to exist seamlessly in a fully 3D environment.
- The fire walker in the “One Jump Ahead” number is a caricature of ‘T. Hee’, a former Disney story man who later taught caricature at CalArts, where many of the film’s artists studied.
- Layout supervisor ‘Rasoul Azadani’ traveled to his hometown of Ispahan in Iran in 1991 to get a feel for the look of the film. He took nearly 2000 pictures there. The artists videotaped capuchin monkeys at the Los Angeles Zoo to give them an understanding of the physical characteristics of Abu.
- The genie appears in the following guises: – a nightclub entertainer – a Scotsman – a Scottish terrier – ‘Arnold Schwarzenegger’ – ‘Ed Sullivan’ – a slot machine – ‘Groucho Marx’ – a boxing trainer – a fireworks rocket – a French maître d’ – a roast turkey – a pink rabbit – a dragon – a certificate – a pair of lips – ‘Robert De Niro’ – a flight attendant – ‘Carol Channing’ – a sheep – a hammock – a muscle man – Pinocchio – a magician – a Frenchman in a beret and striped shirt – a chef – Julius Caesar – ‘Arsenio Hall’ – a tailor – a game-show host – a drum major – ‘Walter Brennan’ – a little boy – a fat man – TV parade hosts – a tiger – a goat – a harem girl – ‘Ethel Merman’ – ‘Rodney Dangerfield’ – ‘Jack Nicholson’ – a teacher – a talking lampshade – a bee – a submarine – a one-man band – a script prompter – a ventriloquist – a Fantasia (1940)-like devil – ‘William F. Buckley’ – Jafar – cheerleaders – a baseball pitcher – a tourist with a Goofy hat – and the moon. – a zombie which strongly resembles ‘Peter Lorre’ – For release in India, Disney replaced the game show host with a cricket commentator.
- The color design of the film was inspired by old Persian miniatures and Victorian paintings of the Middle East.
- ‘John Candy’, ‘Steve Martin’ and ‘Eddie Murphy’ were all considered at one point to provide the voice of the Genie.
- Because ‘Robin Williams’ ad-libbed so many of his lines, the script was turned down for a Best Adapted Screenplay Academy Award nomination.
- Not only is the plot similar to The Thief of Bagdad (1940) but character names Jafar (Jaffar) and Abu were apparently borrowed from the 1939 script by ‘Lajos Biró’. The characters in the silent original, The Thief of Bagdad (1924) were not given names.
- In the original recording for the opening song “Arabian Nights”, part of the song originally went “where they cut off your ear, if they don’t like your face”. After the movies release Arabic Americans took offense so the line was changed to “where it’s flat and immense, and the heat is intense”. If you listen closely, you can hear a distinct vocal change when he sings, “it’s barbaric, but hey, it’s home!”
- Whenever Aladdin tells a lie, the plume on his hat falls and covers his face.
- In the first draft, Aladdin had three friends (Babkak, Omar, and Kassim), a magic ring and two genies.
- When the Genie changes Abu into a car, the license plate reads “ABU 1″.
- An IMAX version was planned but never released.
- ‘Robin Williams’ provided the voice for the Genie, at union scale rate (the lowest legal pay rate a studio can give an actor), on the provisos that his voice was not used for merchandising (i.e. toys and such) and that the Genie character not take up more than 25% of the space of a poster, ad, billboard, or trailer. When these wishes were not granted, he withdrew his support for Disney and the film. As a result, his name was not included in “The Art of Aladdin” book (it makes constant references to “the voice of the Genie”), and he was not available for the direct-to-video sequel The Return of Jafar (1994) (V) or the “Aladdin” (1994) TV show (‘Dan Castellaneta’ filled in as the voice of the Genie for these productions). In an attempt to get back on good terms with Williams, Walt Disney Co. CEO ‘Michael Eisner’ apologized to him with a peace offering of an original ‘Pablo Picasso’ painting. Still angered and feeling betrayed by Disney, Williams would not accept the gift. It was not until ‘Jeffrey Katzenberg’ was fired and a new producer hired did Williams return to Disney. Through this new producer, a public apology was given (by the producer). Promises were made to right wrongs, and Williams was so touched that he came back as the Genie for the second direct-to-video sequel, Aladdin and the King of Thieves (1995) (V). Disney was so thrilled that they threw out the previously completed recording sessions with Castellaneta.
- Animator ‘Eric Goldberg’ based the Genie on the drawings of caricaturist ‘Al Hirschfeld’.
- During the course of recording the voices, ‘Robin Williams’ improvised so much they had almost 16 hours of material.
- This was the first major animated film which was advertised on the strength of having a major movie star providing one of its voices (‘Robin Williams’ in this case). This has since become the norm with animated features.
- Jasmine’s appearance was influenced by ‘Jennifer Connelly’, as well as the sister of her animator, ‘Mark Henn’.
- At the end of the movie, Aladdin faces a difficult choice because he only has 1 wish left. However, Jasmine could easily get three more wishes herself.
- Although the script on the scrolls appears to be Arabic, the Sultan and Jafar’s eyes move from left to right as they read it, not right to left as they should have.
- Prince Akmed’s pants (but not his boxers) are torn when he storms out of the palace yet immediately after this Raja has a piece of Prince Akmed’s boxers (but not his pants) in his mouth.
- When Princess Jasmine releases the birds they are not colored in white – just the outlines of them are shown. (This mistake was fixed on the 2-disc special edition DVD.)
- When Jasmine climbs the wall of the palace to leave, her tiger helps her up and we see her trouser leg. But a close-up of her foot shows her shoe and bare leg.
- While in the cave of wonders, Abu is seen jumping back and forth on the exploding stones. Before he is rescued by Aladdin, all the stones have exploded except the one he’s on. When Aladdin pulls him up, there are two more stones on his right, when in the last shot there were none.
- When Aladdin ducks into the window of the tower as it rolls over him and off the cliff, you see through the tower and clearly see that it is completely hollow. So how was Aladdin held in the tower as it was shot away from Agrabah?
- During “A Whole New World” scene, when Jasmine pets the horse, the flower on her head seems to disappear. Not until when they are flying over the water does the flower return.
- When the guards are after Aladdin and Jasmine, Aladdin holds out his right hand and asks Jasmine “Do you trust me?” Jasmine accepts his right hand, but in the next shot, Jasmine is holding Aladdin’s left hand.
- The patch on the right leg of Aladdin’s pants keeps appearing and disappearing.
- When Jafar and Iago first walk up to their hidden chamber, Jafar pulls the string on a lantern and the door opens from left to right. However, when Jasmine is confronting Jafar about the apparent ’sentencing’ of Aladdin, Jafar is seen opening the door the opposite way (from right to left) in order to sneak out.
- During the “Prince Ali” scene when Aladdin arrives in Agrabah at the Sultan’s Palace, Jafar can be seen trying to keep Aladdin out by holding the front door closed. When Aladdin’s elephant pushes the door open, we see Jafar being smashed into the wall behind the door. Then the scene cuts away to Jafar pushing the door away from his face, however, Iago is clearly smashed into the wall beside him despite not being around Jafar just seconds before the door flew open.
- Immediately after Aladdin decides not to free Genie, he upsets Abu (in elephant form) and Carpet, who then disappear from a window’s view. In doing so, they pass behind a decorative perforation pattern which borders the window, but it is not possible to see them through the holes.
- When on the balcony right before ‘A Whole New World’, Aladdin offers his hand out for Jasmine to grab. His arm is bare, which shows most of the forearm. In the previous and following shots, Aladdin is in his Prince Ali suit, which extends all the way to his wrists.
- When Gazeem is in the desert and pulls the beetle-shaped charm out of his pocket, the inside curve is concave and dips into the piece. When he holds the same piece up to match it with the other half, the connection section now comes outward to fit into the other piece.
- Jafar’s Snake Staff is constantly changing lengths from about 2 feet to about 4 feet when he is resting it on the floor.
- After “A Whole New World” when they are watching a Chinese dragon, Jasmine discovers Ali is the boy from the market and takes his hat. When she grabs his hat she squeezes it and the lamp is not there, but once dropped off at the palace when Ali is thrown into the ocean, the lamp pops out of his hat.
- After Jafar is turned into a genie and his “wishes” undo themselves, Rajah, Abu, Carpet and the Sultan return to how they were before Jafar started making wishes. Jasmine, however, returns to her original harem trousers and crop top outfit, and not to the purple dress she was wearing for the announcement.
- During the “Prince Ali” scene when Aladdin arrives in Agrabah, as Genie appears on the balcony with the three women who are admiring Aladdin the shadow of Aladdin in the procession on the wall underneath them shows that they are on Aladdin’s right-hand side. When the shot cuts to the close-up of Aladdin (where Genie gives him more muscles) Aladdin is looking to his left and Genie’s magic bolt arrives from Aladdin’s left.
- The Sultan’s cummerbund and feather keep changing colour from blue to grey and back, and the gem on his turban frequently changes colour.
- SPOILER: During the Cave of Wonders sequence, Jafar (disguised as a beggar) pulls a knife on Aladdin after the latter gives him the lamp. But after Abu bites Jafar’s arm, and Aladdin falls into the cave along with Abu, the knife is gone.
- The Cave of Wonders warns Aladdin not to touch anything except for the lamp. However, while in the Cave itself, Aladdin and Abu touch the carpet and nothing happens.
- The merchant that catches Jasmine stealing has hands so large that they completely obscure hers. In the close-up of him putting her hand on the chopping block, his hand is considerably smaller.
- During the Cave of Wonders sequence, Abu’s hat disappears for a second.
- While pole vaulting across rooftops with Aladdin, the Princess’ hair falls free from her wrap and the wrap is around her shoulders. Upon landing her hair is neatly tucked under the wrap around her head.
- In the “A Whole New World” number, the carpet picks a flower off a window sill for Aladdin to give to Jasmine. As the carpet reaches for the flower, there are only three flowers on the pot, but in the close-up there are at least twice as many.
- The Cave of Wonders says that only one may enter (and that one is Aladdin), however Aladdin enters the cave with Abu (the monkey), and so the rule does not apply to animals. Jafar could easily have sent Iago (the parrot) into the cave to get the lamp.
- During the “Whole New World” music sequence, we can see Aladdin and Jasmine descending down on their magic carpet, and we can hear Jasmine singing, “A Whole New World,” but her mouth is not moving. This is right after she sings “Through an endless diamond sky…”
- While Jafar has Jasmine enchained, she wears a snake bracelet on her right arm. After Jasmine attempts to steal Jafar’s staff, Jafar knocks her to the ground, and the bracelet can briefly be seen on her left arm. In following scenes it returns to her right arm.
- When Iago, disguised as a flamingo, calls out to Aladdin as Jasmine, he attracts the attention of a dopey-looking flamingo behind him. However, that flamingo was not there in the long shot of the garden that directly preceded the medium shot of the disguised Iago.
- When Aladdin is transformed to Prince Ali, the reflection in the mirror shows the arm held up on the wrong side.
- After Aladdin stops the merchant from chopping off Jasmine’s hand, he gives the sword to Jasmine, who hides it behind her back. In the very next scene she no longer has the sword, and there is no sign of it in later shots.
- The shadow of the window bars falling on Aladdin in the dungeon changes between shots.
- When Jasmine is pretending to be under the Genie’s spell towards the end of the movie she gets up and puts the crown Jafar made, on her head. Later when Jafar sees Aladdin reflected in the crown he knocks her to the ground, when she hits the ground and looks up, the crown is not on the floor around her as if it fell off.
- During “A Whole New World” we first see a full moon, at the end of the song the water reflects a crescent moon.
- The flower in Jasmine’s hair is on the wrong side when reflected in the stream.
- The Sultan’s blue diamond, which is on his left ring finger, doesn’t appear until a few seconds before Jafar asks for it.
- “A WHOLE NEW WORLD” Music by ‘Alan Menken’ Lyrics by ‘Tim Rice’ Performed by ‘Peabo Bryson’ & ‘Regina Belle’ Courtesy of SONY Records
- “Arabian Nights” Written by ‘Alan Menken’ & ‘Howard Ashman’ Performed by ‘Bruce Adler’
- “One Jump Ahead” Written by ‘Alan Menken’ & ‘Tim Rice’ Performed by ‘Brad Kane’
- “Friend Like Me” Written by ‘Alan Menken’ & ‘Howard Ashman’ Performed by ‘Robin Williams’
- “Prince Ali” Written by ‘Alan Menken’ & ‘Howard Ashman’ Performed by ‘Robin Williams’
- “A Whole New World” Music by ‘Alan Menken’ Lyrics by ‘Tim Rice’ Performed by ‘Brad Kane’ & ‘Lea Salonga’
- “Prince Ali (Reprise)” Written by ‘Alan Menken’ & ‘Howard Ashman’ Performed by ‘Jonathan Freeman’
- “Proud of Your Boy (Demo)” Music by ‘Alan Menken’ Written by ‘Howard Ashman’ Performed by ‘Alan Menken’ (Special Edition Only)
- “Proud of Your Boy” Music by ‘Alan Menken’ Written by ‘Howard Ashman’ Performed by ‘Clay Aiken’ (DVD Special Feature Only)
- “High Adventure (Demo)” Music by ‘Alan Menken’ Written by ‘Howard Ashman’ Performed by ‘Alan Menken’ and ‘Howard Ashman’ (Special Edition Only)
- “Humiliate the Boy” Music by ‘Alan Menken’ Written by ‘Howard Ashman’ Performed by ‘Jonathan Freeman’ (DVD Special Feature Only)
- “Why Me?” Music by ‘Alan Menken’ Written by ‘Howard Ashman’ Performed by ‘Jonathan Freeman’ (DVD Special Feature Only)
- “You Can Count On Me” Music by ‘Alan Menken’ Written by ‘Howard Ashman’ Performed by ‘Brad Kane’ (DVD Special Feature Only)
Director: Gore Verbinski
Length: 91 min
Gross: $6,706,368 (USA)
IMDb: 7.40 (92627 votes)
Johnny Depp (Jack Sparrow), Orlando Bloom (Will Turner), Keira Knightley (Elizabeth Swann), Jack Davenport (Norrington), Bill Nighy (Davy Jones), Jonathan Pryce (Governor Weatherby Swann), Lee Arenberg (Pintel), Mackenzie Crook (Ragetti), Kevin McNally (Gibbs), David Bailie (Cotton), Stellan Skarsgård (Bootstrap Bill ), Tom Hollander (Cutler Beckett), Naomie Harris (Tia Dalma), Martin Klebba (Marty), David Schofield (Mercer)
Just before their wedding, Elizabeth Swann and Will Turner are arrested by Lord Cutler Beckett for helping the pirate Captain Jack Sparrow, but Cutler proposes a deal to Will: their freedom per Jack’s compass. Meanwhile, Jack is afraid of the sea, because he owes his soul to the evil Davy Jones, the Captain of the Flying Dutchmen. When Will meets Jack, the pirate proposes to exchange his compass by a key owned by Davy Jones. Will goes to the Flying Dutchman without knowing how dangerous and diabolic Davy Jones and his crew are.
- Michael Moore: Mr. Smith, we just came down from Flint, where we filmed a family being evicted from their home the day before Christmas Eve. A family that used to work in the factory. Would you be willing to come up with us to see what the situation is like in Flint, so that people…?
Roger Smith: I’ve been to Flint, and I’m sorry for those people, but I don’t know anything about it, but you’d have to…
Michael Moore: Families being evicted from their homes on Christmas Eve…
Roger Smith: Well, I’m – listen, I’m sure General Motors didn’t evict them. So, you’d have to go talk to the landlord.
Michael Moore: They used to work for General Motors, and now they don’t work there anymore.
Roger Smith: Well, I’m sorry about that.
Michael Moore: Could you come up to Flint with us?
Roger Smith: I cannot come to Flint, I’m sorry.
- Eubanks: You know why Jewish girls don’t get AIDS? They only marry assholes, they don’t screw ‘em!
- GM spokesman/lobbyist Tom Kay: Well, if you’re espousing a philosophy, which apparently you are, that the corporation owes employees cradle-to-the-grave security, I don’t think that can be accomplished under a free enterprise system.
subtitles: Tom Kay laid off, office closed.
- Michael Moore: How does it feel driving through Flint Michigan today and so many people being laid off…so many plants being shut down?
Kaye Lani Rae Rafko: How does it feel? I feel like a big supporter. That’s how. Does it matter of what?
- [In closing credits]
subtitles: This film cannot be shown within the city of Flint… All the movie theaters have closed.
- Michael Moore: My favorite was the exhibit sponsored by General Motors: a puppet auto worker singing a love song to the robot replacing him on the assembly line. The song was called “Me and My Buddy”.
- Michael Moore: Well, the million tourists never came to Flint. The Hyatt went bankrupt and was put up for sale, Waterstreet Pavillion saw most of its stores go out of business, and only six months after opening, Autoworld closed due to a lack of visitors. I guess it was like expecting a million people a year to go to New Jersey to Chemicalworld, or a million people going to Valdez, Alaska for Exxonworld. Some people just don’t like to celebrate human tragedy while on vacation.
- [last lines]
Michael Moore: Well I failed to bring Roger to Flint. As we neared the end of the twentieth century, the rich were richer, the poor, poorer. And people everywhere now had a lot less lint, thanks to the lint rollers made in my hometown. It was truly the dawn of a new era.
- Michael Moore: Although most people in Flint were now too poor to afford a room at the Hyatt, the hotel allowed the public on opening day to ride the city’s only escalator.
- Michael Moore: [after massive layoffs] Meanwhile, the more fortunate in Flint were holding their annual Great Gatsby party at the home of one of GM’s founding families. To show that they weren’t totally insensitive to the plight of others, they hired local people to be human statues at the party.
- Michael Moore: So this was GM chairman Roger Smith. And he appeared to have a brilliant plan: First, close 11 factories in the U.S, then open 11 in Mexico where you pay the workers 70 cents an hour. Then, use the money you’ve saved by building cars in Mexico to take over other companies, preferably high-tech firms and weapons manufacturers. Next, tell the union you’re broke and they happily agree to give back a couple billion dollars in wage cuts. You then take that money from the workers, and eliminate their jobs by building more foreign factories. Roger Smith was a true genius.
- The unnamed San Francisco left-wing magazine that Moore goes to work for at the beginning of film is Mother Jones. Moore worked for the magazine for three months in 1985 before being fired for putting his friend on the cover. Moore sued the magazine for contract breech, and used the money he won in the settlement to partially fund Roger & Me (1989).
- SPOILER: In the film, it is suggested that the subject of the documentary, ‘Roger B. Smith’, was not available for commentary, despite several attempts. Years later, the documentary Manufacturing Dissent (2007) alleges that ‘Michael Moore (II)’ did speak with ‘Roger B. Smith’ twice in 1987 (at General Motors’ shareholders meeting) and 1988 (at the Waldorf Astoria hotel in New York), but ‘Michael Moore (II)’ didn’t put that footage in Roger & Me (1989). However, even ‘Roger B. Smith’ himself said in a 1990 interview with Los Angeles Times that he had never stayed at the Waldorf Astoria hotel in New York. ‘Michael Moore (II)’ himself also denied this allegation to Associated Press: Moore said that he did speak with Roger Smith at the 1987 shareholders’ meeting, but that was before he started working on Roger & Me (1989) and the conversation had nothing to do with the film.
- During the early screenings, an empty seat was reserved for ‘Roger B. Smith’. Smith never attended.
- The robot featured in the “My Buddy” segment from Autoworld is located in the Sloan Museum, 1221 E. Kearsley Street, Flint, MI. The Roger and Me premiere banner and original cardboard stand up sign are located just a few feet from the robot but no connection is mentioned.
- When ‘Michael Moore (II)’ decided to start a documentary about Flint, Michigan and General Motors in the mid-1980s, he knew very little about the technical side of filmmaking (camera-work, lighting, etc.). He met a fellow low-budget documentary filmmaker, ‘Kevin Rafferty (II)’, who helped him learn this side of the director’s job on the project, and served as one of the cinematographers.
- This is the only movie where there has been a successful lawsuit against ‘Michael Moore (II)’ – filed by former friend Larry Stecco who successfully argued that his portrayal in the movie was not an accurate reflection of his character (“False light invasion of privacy” is the legal term) and won. Stecco was interviewed attending a society fund raising ball and was made out to be a high-society rich pig who partied while people where starving outside. He was actually a lawyer who worked pro-bono for the poorer residents of Flint.
- In a radio interview, ‘Michael Moore (II)’ felt this film was a failure, since it did not stimulate any interest in development or investment to the town of Flint.
- DIRTRADE(‘Michael Moore (II)’): [flint]: Most of the film takes place in Flint, Michigan.
- By 1989, all movie theaters had closed in the city limits of Flint. The premiere was held at Showcase Cinemas, 5205 East Court Street, Burton, MI a small town next to Flint.
- Partially funded with $50,000 revenue generated by bingo games. Moore sold his house and held two yard sales. ‘Edward Asner’ was sent a letter requesting support and sent a check. His name appears in the credits.
- “Here He Comes, Pat Boone” Written by Jerry Seelan and Artie Malvin
- “Talk to Me Baby” Written by Jerry Seelan and Artie Malvin Performed by ‘Pat Boone’
- “California, Here I Come” Written by ‘Buddy G. DeSylva’, ‘Joseph Meyer’, and ‘Al Jolson’
- “Wouldn’t it be Nice” Written by ‘Brian Wilson’ and Terry Asher Performed by ‘The Beach Boys’ Courtesy of Capitol Records, Inc. By Arrangement with CEMA Special Markets
- “Lucky, Lucky Me” Written by ‘Milton Berle’ and Buddy Arnold Performed by ‘Connie Francis’ Courtesy of PolyGram Special Products, A division of Polygram Records, Inc.
- “Back Home Again” Written by ‘John Denver’
- “This Guy’s In Love With You” Written by ‘Burt Bacharach’ and ‘Hal David (II)’
- “The Newlywed Game Theme” Written by ‘Chuck Barris’ Performed by Trumpets Olé Courtesy of MCA Records
- “Union Maid” Written by ‘Woody Guthrie’
- “There She Is, Miss America” Written by ‘Bernie Wayne’
- “Joy to the World” Written by ‘Hoyt Axton’ Performed by Anita Bryant
- “Put Your Hand in the Hand” Written by Gene MacLellan Performed by Anita Bryant
- “Speedy Gonzales” Written by ‘Buddy Kaye’, David Hill, and ‘Ethel Lee (II)’ Performed by ‘Pat Boone’
- “Michigan State University Fight Song” Written by F.I. Lankey Performed by The Michigan State University Marching Band Courtesy of Fidelity Sound Recordings
- “The Way It Is” Written by ‘Bruce Hornsby’ Performed by ‘Bruce Hornsby & The Range’ (as Bruce Hornsby and The Range) Courtesy of RCA Records
- “My Hometown” Written and Performed by ‘Bruce Springsteen’ Courtesy of CBS Records Music Licensing Department
- “Jailhouse Rock” Written by ‘Jerry Leiber’ and ‘Mike Stoller’ Performed by The Nighthawks
- “Jingle Bells” Arranged by Carl Weiss Performed by The Singing Dogs
- “Santa Claus is Coming to Town” Written by ‘J. Fred Coots’ and ‘Haven Gillespie’
- “Happy Birthday to You” Written by ‘Mildred J. Hill’ and ‘Patty S. Hill’ Performed by ‘Pat Boone’
- “I am Proud to be an American” Written by Albert Malotte Performed by ‘Pat Boone’ Courtesy of MCA Records
Countries: Canada, Germany, USA
Length: 88 min
Languages: English, Hindi
Gross: $18,225,165 (USA) (12 September 2004)
IMDb: 7.20 (33401 votes)
John Cho (Harold Lee), Kal Penn (Kumar Patel), Neil Patrick Harris (Himself), David Krumholtz (Goldstein), Eddie Kaye Thomas (Rosenberg), Christopher Meloni (Freakshow), Ryan Reynolds (Male Nurse), Fred Willard (Dr. Willoughby), Ethan Embry (Billy Carver), Robert Tinkler (J.D.), Steve Braun (Cole), Dan Bochart (Extreme Sports Punk #1), Mike Sheer (‘I’m So High’ Kid), Christopher Thompson (Don’t You Wanna Be Cool Kid), Angelo Tsarouchas (Mean Tollbooth Guy)
Two twenty-something stoner roommates — one a Korean American investment banker; the other an Indian American medical school candidate — go through a life changing journey, as they spend a night roaming the state of New Jersey in search of White Castle hamburgers.
- Dr. Patel: [to Kumar] I hope you are here to apologize for what you did at your interview this afternoon.
Saikat Patel: What the hell’s wrong with you, Kumar? God! You’re like twenty-two years old. I mean, when are you going to stop this post-college rebel baloney? Like your life’s so hard.
Kumar: Eat my balls, Saikat.
Dr. Patel: I will not tolerate this behavior any longer! You have one more interview tomorrow morning. And if I hear from Dr. Reed that you are anything short of spectacular, I’ll completely cut you off!
Kumar: Dad, come on… [interrupted]
Dr. Patel: Daddy, is not coming on to anything! [Silence] You will be there and you will behave.
Dr. Patel: I have put too much time and energy into you where you will go and foul it all up!
- Kumar: How were Katie Holmes’ tits?
Goldstein: You know the Holocaust?
Goldstein: Picture the opposite of that!
- Cindy Kim: Have you seen a Korean guy around here?
Hippie Student: Yeah, only when I open my eyes though.
- Kumar: I can’t believe you were gonna ditch for the Joy Luck Club, dude. You know what their parties are like.
Harold: C’mon, what did you want me to say? I was under pressure.
Kumar: Just say no. That’s all it takes.
Kumar: Here. [hands Harold the joint] Take a hit of that.
- Freakshow: What the hell are you doing with my wife?
Harold: Y-you said outside that we could have sex with her!
Kumar: Shit! Shit!
Freakshow: I most certainly did not!
Harold: Yes you did!
Freakshow: Did not!
Kumar: Yes you did!
Freakshow: Oh, no, I didn’t.
Kumar: You did, you did.
Freakshow: You sure…?
Harold: You said it!
Freakshow: [laughing] My mistake! Well, since we’re all here… How ’bout a four-some?
- Kumar: [spits] Bitch! Learn how to fuckin’ make coffee, you fucking whore!
- Harold: [to Maria in elevator, after seeing luggage at her feet] Sure got a lotta baggage.
- Harold: [riding a cheetah] Dude, am I really high, or is this actually working?
- Kumar: Roldy! Roldy! dude, you gotta come quick. There is these two filthy pussies just aching to get boned by us!
Kumar: I mean… duh… that there are these two lovely young pussies who would like to have a chat with you and I.
- Kumar: Kumar: My names Kumar.
Freakshow: Freakshow: [Lifts hand in the air, immediately, whilst still watching the road] How are you, Kenny?
Kumar: Kumar: [Confused, by this over reaction] Um… And this is Harold.
Freakshow: Freakshow: Hi, Gerald how are you?
- Harold: Back off cockboy, what I said him goes double for you.
J.D.: Cockboy, you just call me cockboy?
Harold: Yeah, you know I did. You’re just stalling cuz you’re not quick enough to think of a comeback.
J.D.: You think I’m not quick enough. Guy thinks I’m not quick enough. Well I got news for you. I am quick enough!… Cockboy!
- Kumar: [Kumar has just met two girls in the hallway] Dude! There are these two filthy fucking pussies just waiting to get boned by us!
Harold: [Harold is with Cindy Kim] Kumar!
Kumar: I mean there are these two lovely young women who want to meet us in their dorm room.
- Male Nurse: [wiping Kumar's lips with a little too much admiration] Soft, chocolate lips…
- Officer Palumbo: Bullets – my only weakness! How did you know?
- Mean Tollbooth Guy: Move, you fucking twat!
- Harold: [yelling] How is that not the worse news?
Kumar: [calmly] The laptop situation really only affects you, whereas the White Castle situation affects us both equally.
- Kumar: Thank you, come again
- Harold: Dude, we’re so high right now!
Kumar: We’re not low!
- Kumar: [from inside a heating duct at the police station, where Harold is in jail] Rold? Is that you?
Kumar: Hey, are the cops still here? [cops left moments earlier to check out a shooting in Millbrook Park]
Harold: What the hell are you doing?
Kumar: I just called and made up some story about a shooting in Millbrook Park.
Harold: Jesus Christ! What’d you do that for?
Kumar: I’m fucking starving! I figured I’d bust you out and we’d go get some burgers.
- Mean Tollbooth Guy: Move, you retarded cocksucker, move!
- Kumar: I forgot my cell phone.
Harold: You wanna run back and get it?
[both turn and look at their front door 20 feet from them]
Kumar: No, we’ve gone too far.
- Rosenberg: Boobies, boobies, boobies!
- Goldstein: This movie makes no sense. She’s possessed, she’s not possessed… that rack had better be stacked. OH! TITS! Those aren’t real. Yes, they are!
- Freakshow: Go on inside, boys, and make yourselves at home. You can rest up, get something to drink, fuck my wife, whatever you want. Just don’t do anything Jesus wouldn’t!
Kumar: [starts walking away with Harold] Did he just say we could fuck his wife?
- Harold: [awakening from dream after being hit on head] What the hell are you doing? Gawd!
Kumar: You been out cold for the past half an hour. I figured maybe if I did some gay shit, you’d wake up.
Harold: If you did some gay shit? What kinda – where are we? Didn’t we come here on a cheetah? Where’s the cheetah?
Kumar: It ran away. Listen, forget about the cheetah, okay?
- Kumar: Let’s find us some tunes baby,
[finds a blank tape]
Kumar: Cole’s extreme mix volume 5, what is this shit?
[puts in the tape and "Total Eclipse Of The Heart" begins to play]
Kumar: [laughing] These guys are fucking posers!
- Harold: Oh, nice. 16 Candles is on, man.
Kumar: And the award for the least heterosexual statement ever made in this apartment goes to… Harold Lee! Come on down, man! Take a bow!
Harold: Shut up, man. It’s a classic.
- Kumar: [notices the ticket fee] $220? Are you crazy? Excuse me, Officer sir! Let me just take a few guesses here!
Harold: [stands in front of Kumar, pleading to the officer] I’m really sorry for this…
Officer Palumbo: No sudden movements! Back it up!
Kumar: You were probably the big asshole in high school, right?
Officer Palumbo: Absolutely right.
Kumar: And you used to pick on guys like us everyday for fun?
Officer Palumbo: With pleasure.
Kumar: But then graduation day came! We went to college, while you went nowhere. And then you began to think to yourself, “Gee. How can I still give them grief? Oh, I know, I’ll just become a cop.” Yeah? Well, congratulations! Your dream has come true! Now, why don’t you just take this quiet little Asian guy with the American name that treats you so well and give him some more tickets or better just take him to jail.
Officer Palumbo: Even better.
Officer Palumbo: You’re going downtown thanks to your friend here.
Kumar: [to Harold, mockingly] Oh, great American name, Harold!
Harold: [lunges his fist toward Kumar, but misses and strikes Officer Palumbo in the face] Yaaah!
Officer Palumbo: Huh.
[spits his gum out, angrily]
Harold: [placed in jail with a blank expression on his face] Oh, shoot.
- Clarissa: Damn! You sank my battleshit!
- Dr. Willoughby: Do you actually believe that after the way you’ve just behaved that I would even consider recommending you for admission?
Kumar: No. I’m gonna be honest with you. The only reason I’m applying is so my dad will keep paying for my apartment. I really don’t have a desire to go to med school.
Dr. Willoughby: But you have perfect MCAT scores!
Kumar: Yeeeah, just cause you’re hung like a moose doesn’t mean you gotta do porn.
- Cole: EXTREME KAYAKING!
- Harold: Did Doogie Houser just steal my fucking car?
- Mean Tollbooth Guy: Hey, move your ass!
- Don’t You Wanna Be Cool Kid: Come on, dude. Just take one hit. Don’t you wanna be cool?
I’m So High Kid: [takes drag of joint, makes a womanly cough sound]
Don’t You Wanna Be Cool Kid: Hey, man, what are you doin’?
I’m So High Kid: I’m so high! [laughs] Nothing can hurt me. [puts pump-action rifle in mouth and pulls trigger]
Don’t You Wanna Be Cool Kid: Nooo!
- Harold: [after Kumar's rude intervention] I apologize for my friend here, we had a really tough night. I’m really glad you’re here. You ever heard of the show, Doogie Houser, MD?
Officer Palumbo: Yeah, I know the show. God, I love that show! Doogie. Ha.
Harold: Neil Patrick Harris stole my car tonight.
Officer Palumbo: [Points his pen at Harold] Hey! NPH wouldn’t do that, all right? Now let me see some I.D.
- Hippie Student: [Kumar trying to buy pot] Here, that’s sixt – 80 bucks.
Kumar: 80 bucks?
Hippie Student: Yeah, 80 bucks.
Kumar: Yo, this is worth 40 tops bro!
Hippie Student: Bro? I’m not your bro, bro. ok, and that’s 80 bucks. You don’t feel like getting high tonight? If you don’t feel like getting high, that’s cool with me because there’s lots of people around here. See this guy? Hey, what’s up, George? I smoke buds with George all the time.
Kumar: What kind of a hippie are you?
Hippie Student: What kind of hippie am I? Man, I’m a business hippie, I understand the concept of supply and demand.
- Kumar: So where you going to go now, Neil?
Neil Patrick Harris: [puts on sunglasses] Wherever God takes me!
- Kumar: Well, congratu-fuckin’-lations, your dream has come true!
- [last lines]
Female Anchor: Police in Cherry Hill, New Jersey, have just arrested a gang of hooligans who are suspected of terrorizing numerous strip malls and convenience stores. Officer Thurmond Brucks found their abandoned car, which contained a large bag of marijuana. And in other news, the Muckleburg police department are still looking for a fugitive who escaped from the police station last night with a companion believed to be his accomplice. Police have released sketches of the two fugitives which they believe to be extremely accurate.
- Kumar: [whispering] Dude, look at that boil on his neck, it’s pulsating!
Harold: [whispering] Shut up, dude. He probably heard what you just said.
Kumar: [whispering] No, he can’t. Look at it now! Pus is coming out!
Harold: [looks at Freakshow's neck] Ugh!
Kumar: [whispering] Isn’t that the sickest thing you’ve ever seen?
Harold: [whispering] Just shut up! He probably heard this whole conversation!
Kumar: [whispering] No, he didn’t. He can’t hear anything with all that crud in his ear.
- Kumar: Shotgun anus!
- Kumar: [in surgery] Hang on a second, nurse. What we should probably use is marijuana. That’ll sufficiently sedate the patient for surgery.
Male Nurse: Marijuana?… But why?
Kumar: We don’t have time for questions. We need marijuana now, as much of it as possible! Like a big bag of it.
- Kumar: Hey, why don’t you leave that guy alone and go jerk off to some snowboarding videos or something?
- Harold: So what are you in here for?
Tarik: For being black.
Tarik: I am serious. You wanna know what happened. I was walking out of a Barnes & Noble, and a cop stops me. Evidently, a black guy robbed a storein Newark. I told him, “I haven’t even been to Newark in months.” So he starts beating me with his gun, telling me to stop resisting arrest.
Harold: Holy shit! What’d you do?
Tarik: I kept saying, “I understand I’m under arrest. Now please stop beating me.”
Harold: I don’t understand how you can be so calm about all this.
Tarik: Look at me. I’m fat, black, can’t dance, and I have two gay fathers. People have been messing with me my whole life. I learned a long time ago there’s no sense getting all riled up every time a bunch of idiots give you a hard time. In the end, the universe tends to unfold as it should. Plus I have a really large penis. That keeps me happy.
- Dr. Patel: I will not tolerate this business from you any longer. You have one more interview tomorrow morning, and if I hear from Dr. Wein that you are anything short of spectacular, I’ll completely cut you off.
Kumar: Dad, come on.
Dr. Patel: Daddy is not coming on anything!
- Kumar: So she’s kinda fucking cute. Let her touch your penis.
- Freakshow: Hey Randy! What? The devil! Whuh? The devil is everywhere…
- Harold: [discussing Katie Holmes] Is that all you Jews ever think about – tits?
Goldstein: Oh man, the things I would eat out of her ass, you have no idea!
Rosenberg: That is a completely disgusting and vulgar statement.
Goldstein: So is “I want to bang Britney Spears on the bathroom floor.” But it’s true!
- Rosenberg: I think Kumar’s a “faygele”.
Goldstein: Oh, they’re totally gay for each other.
Rosenberg: Hey, you wanna suck on this?
Goldstein: Uh-huh. Mmm.
- Harold: Are those my scissors? I trim my nose hair with those.
Kumar: Dude… I’ve been cutting my ass hair with these.
- Kumar: Dude, am I going deaf or did he just say we could fuck his wife?
- Kumar: [licking Harold's face]
Harold: Ah! AH! What the hell are you doing?
Kumar: You’ve been out cold for the past half hour, I figured if I did some gay shit you’d wake up.
- Harold: I want that.
Kumar: What? A Hot Dog Heaven super chili cheese dog?
Harold: No. I want that feeling. The feeling that comes over a man when he gets exactly what he desires. I need that feeling!
Kumar: Are you saying what I think you’re saying?
Harold: We gotta go to White Castle.
Kumar: YES! YES! I knew you had it in you dude!
- Officer Martone: [notices the jail door keys in the jail door, and Jackson sitting inside the cell reading a book] Hey, Jackson’s trying to escape!
Tarik: What are you talking about? I’m just sitting here.
Officer Reilly: He’s trying to break free! Get him!
Tarik: Aw, shit. [gets up and spread eagles on the cell wall, while still holding the book in one hand]
Officer Martone: Don’t move. Stop resisting! We need back up now! He’s got a gun!
Tarik: That’s not a gun, that’s a book.
Officer Reilly: Secure the book!
Officer Palumbo: Book is secure. You bring this filth [book is on human rights] in here? What is this shit?
- Harold: Is there… is there a problem, Officer… Palumbo?
Officer Palumbo: Is there a problem? Have you heard of jaywalking?
Harold: Yes, I have. I’m really sorry. It won’t happen again.
Officer Palumbo: That’s great. I’m writing you up a ticket.
Kumar: A ticket? Are you serious?
Officer Palumbo: Who the fuck are you, shitwad?
- Harold: Harold: Thanks, for helping us out.
Freakshow: [Long Pause]
Freakshow: …Oh no problem at all, I seen you two stranded out there. Alone. In the darkness.
Freakshow: [Under his breath. While staring at Harold] I said to myself.
Freakshow: [Short Pause]
Freakshow: What would Jesus do?
Freakshow: [Takes hands off the steering wheel and starts clapping and singing]
Freakshow: Goin’ down to Georgia, gonna get myself baptised, gonna get myself baptised In the puddle of the looooooorrd.
- Harold: Doog, where’s my car?
Kumar: Where’s his car, dude?
- Christy: Skag! You sank my destroyer!
- Kumar: Do you know what the hell we had to go through after you took the car?
Neil Patrick Harris: Yeah, it was a dick move on my part. That’s why I’m paying for your meal. Prick.
Neil Patrick Harris: [looks down to count money] Here’s 50 for the meal, and 200 for the car.
Harold: What did you do to my car?
Neil Patrick Harris: I made some love stains in the back. You’ll see…
- Kumar: Now we’re in Newark, of all places. You know we’re gonna get shot.
Harold: Maybe it’s not as bad as they say. Maybe it’s just a bunch of hype.
Kumar: Check it out. Those guys look like a lame version of us. [2 guys get jumped and beaten with a 2x4 and other weapons]
Harold, Kumar: Holy shit! [assailants stop beating up 2 guys, look up and pause, then continue with the assaults while the 2 men lay on the ground moaning]
Harold: Let’s get the fuck outta here. Go! Go! Drive! Drive!
Kumar: Yeah, that was your fault.
Harold: Fuck you.
Kumar: Fuck you.
- Freakshow: Go on inside, boys, and make yourselves at home. You can rest up, get something to drink, fuck my wife, whatever you want. Just don’t do anything the good lord would’nt do.
Kumar: [walking away with Harold] Dude am I going deaf or did he just say we could fuck his wife?
- Kumar: [sniffs] Hey, what’s that smell?
Harold: What smell? Kumar…
Kumar: [starts sniffing like a crazed bloodhound, and then sees a huge bag of marijuana, his eyes widen]
Harold: Hey Kumar! Kumar! Where are you… [Kumar rushes to the bag of marijuana] Kumar! Still in jail, asshole! Come here!
- Extreme Sports Punk #1: Dude, that was SO not extreme!
Cole: I know, Extreme Sports Punk Number One…
- Kumar: [about Doogie Howser, M.D] So, I gotta ask you Neil, did you ever get it on with Wanda off the set?
Neil Patrick Harris: Dude, I humped every piece of ass ever on that show.
Kumar: Even the chick who played the hot nurse?
Neil Patrick Harris: No… I didn’t go all the way with her.
- Goldstein: Sorry, kids. We ain’t goin’ nowhere. We’re watching ‘The Gift’. Supposedly Katie Holmes shows her titties in this movie.
Harold: Is that all you Jews ever think about? Tits?
Rosenberg: Katie Holmes is a nice, respectable, wholesome girl… and I’m gonna see her boobs.
Goldstein: The things I would eat out of her ass! You have no idea!
Rosenberg: Ugh! That is a completely vulgar statement.
Goldstein: So is, “I wanna bang Britney Spears on the bathroom floor,” but it’s true.
- Freakshow: Who wants first reach-around?
- [first lines]
J.D.: Billy boy! Get your ass ready. It’s almost 5:00 and this bad boy needs to get his drink on. No, no, no. Give me that.
Billy Carver: Don’t.
J.D.: I’m gonna burn it once and for all.
Billy Carver: Stop it.
- Kumar: Hey Roldy?
Kumar: There’s something I forgot to tell you.
Kumar: I never hang-glided before.
- Freakshow: It’s gonna take me a while to fix up your car there, so if you boys like, you can go on inside, get yourselves something to drink, wash up, fuck my wife, watch TV – anything you want. Mi casa es su casa. Just don’t do anything the Good Lord wouldn’t do.
- Kumar: [in surgery] We should give this man some marijuana. Nurse! Get all the medical marijuana you can! Like a big bag of it?
Male Nurse: Marijuana?… But why?
- Harold: Neil, you wouldn’t happen to know how to get on the highway from here, would you?
Neil Patrick Harris: Dude, I don’t even know where the fuck I am right now. I was at this party earlier tonight and some guy hooked me up with this incredible “X” – next thing I know I’m being thrown out of a moving car. I’ve been trippin’ balls ever since.
Kumar: That’s crazy, dude. We’ve been having a pretty crazy, night, too. We’ve just been driving around looking for White Castle but we keep getting sidetracked.
Neil Patrick Harris: Yeah, dude, you fascinate me. Forget White Castle, let’s go get some pussy!
Neil Patrick Harris: It’s a fucking sausage fest in here, bros. Let’s get some poontang, THEN we’ll go to White Castle.
Kumar: No, Neil, you don’t understand. We’ve been craving these burgers all night.
Neil Patrick Harris: Yeah, I’ve been craving burgers, too. Furburgers. Come on, dudes, let’s pick up some trim at a strip club. The Doogie line always works on strippers.
Neil Patrick Harris: Lapdance…
Kumar: [pause] There’s a gas station. I’m gonaa see if I can get some directions.
Neil Patrick Harris: You don’t need dir- gah! Hurry up, dudes, hurry up! I’m losing wood.
[they park, pause]
Neil Patrick Harris: Hurry, hurry, hurry, hurry, hurry, hurry…
Kumar: Look, chill.
Harold: We’ll be right back, Neil.
[they exit the car]
Harold: Dude, what is the deal with Neil Patrick Harris? Why is he so horny?
- Harold: …The universe tends to unfold as it should.
Kumar: What is that? Some fortune cookie?
- Freakshow: Hey Randy! What? The devil! Oh! The devil is everywhere… Hey Randy! What? Liqour! Ooh! The devil is everywhere… Hey Randy! What? Tobacco! Ooh! The devil is everywhere… Hey Randy! What? Crystal meth!… oh… uhh… The devil… is… everywhere… Let’s take a breather and pray…
- Harold: [about to ride cheetah] This is either a really smart move or by far the stupidest thing that we have ever tried.
- Harold: I want 30 sliders, 5 french fries, and 4 large cherry cokes.
Kumar: I want the same except make mine diet cokes.
- Officer Palumbo: What kind of name is that anyhow? Kumar? What is that five o’s or two u’s?
Kumar: No, it’s actually one “u”
Officer Palumbo: Yeah… bullshit.
- Harold: I am so hungry. I’m gonna eat, like, 20 of those burgers, man.
Kumar: Dude, fuckin’ I will see your 20 burgers and raise you 5 orders of fries.
- Kumar: [walks up to a bush and starts peeing] Ahh. [Creepy Guy walks up out of nowhere and starts peeing right next to him]
Kumar: ‘Scuse me, I just…
Creepy Guy: Huh?
Kumar: I have to ask you, why’d you… wha… wha… why are you peeing… right here?
Creepy Guy: What?
Kumar: I mean… why’d you pee right next to me when you could like, choose that bush, or…
Creepy Guy: Well, this bush looked like I should pee on it. Why are you peeing on it?
Kumar: Well, no one was here when I chose this bush.
Creepy Guy: Oh, so you get to pee on it and no one else does? Huh?
Kumar: No, it’s just… I just…
Creepy Guy: This your bush? You have a special bond with this bush?
Kumar: No, I just thought that…
Creepy Guy: You the king of the forest?
Kumar: I’m sorry?
Creepy Guy: What?
Creepy Guy: You fuckin’ tree-hugger. IS THIS YOUR SPECIAL BUSH?
Kumar: Never mind. Forget it, I really don’t feel like gettin’ stabbed tonight. [they pee in silence for a bit]
Creepy Guy: [quietly] Nice pubes.
Kumar: [pauses, creeped out] Thanks.
- Cole: Let’s go get some fuckin’ Mountain Dew.
- Burger Shack Employee: Ding-dong! May I interject for a second? As a Burger Shack employee for the past three years, if there’s one thing I’ve learned, it’s that if you’re craving White Castle, the burgers here just don’t cut it. In fact, just thinking about those tender little White Castle burgers with those little, itty-bitty grilled onions that just explode in your mouth like flavor crystals every time you bite into one… just makes me want to burn this motherfucker down. Come on, Pookie, let’s burn this motherfucker down! Come on, Pookie! Let’s burn it, Pookie! Let’s burn this motherfucker down! Let’s burn it down! Let’s burn it! So you guys maybe should just suck it up and go to White Castle.
Kumar: You can always get your work done in the car.
Harold: Let’s do it.
Kumar: All right. Awesome. Then listen, listen – no matter what, we are not ending this night without White Castle in our stomachs. Agreed?
Harold: Agreed. [shakes Kumar's hand then gives him pound]
Burger Shack Employee: Wise choice. You guys might have wanted to stay away from our special sauce tonight. Me and Pookie, we added a secret ingredient. I’ll give you a hint. It’s semen. [bursts out laughing]
Harold: [Smirks] Semen.
Burger Shack Employee: Animal semen.
[Harold and Kumar scream and drive off as fast as possible]
- Extreme Sports Punk #1: Dude, on a scale from 1 to 10, 1 being not so extreme and 10 being extremely extreme, I give this a 9.5!
- The movie poster at the end of the Burgerland dream sequence lists Maria’s full name as “Maria Quesa Dilla”. It also contains the tagline “There is a pinche puto in all of us.”
- ‘Luis Guzmán’ had a small part as boyfriend to Maria’s roommate, but this was eventually deleted from the film. The scene was a gag that made Harold think Guzman was dating Maria.
- The pipe that Goldstein and Rosenberg smoke marijuana out of is made of a shofar. A shofar is a musical horn made from a kosher animal’s horn (usually a ram) that is used on the Jewish holidays of Rosh Hashanah and Yom Kippur.
- On a promotional talk show appearance by ‘Christopher Meloni’, he explained that when writers ‘Jon Hurwitz’ and ‘Hayden Schlossberg’ approached him with the script, they said of the part “You we’re the first person we thought of.” After reading the introduction of his character, which simply describes him as “the ugliest man on Earth,” he got the joke.
- ‘Neil Patrick Harris’ plays a character named “Neil Patrick Harris” and is billed as such rather than being billed “as himself.” According to an interview on NPR, this was done to make clear that he plays a parody of himself.
- Co-writer Jon Hurwitz told the New York Times that if ‘Neil Patrick Harris’ had turned down the role, their second choice was ‘Ralph Macchio’, who, like Harris, was best known for a wholesome role. In Macchio’s case, The Karate Kid (1984) and its sequels.
- Rosenberg and Goldstein’s first names (as said by Kumar) are Manny and Chevitz. This is a reference to Manischewitz, a brand of wine traditionally (and stereotypically) associated with Jewish celebrations.
- The real restaurant “Hot Dog Heaven” is only located in two cities in Ohio, Amherst and Avon Lake. The Producers had lunch in the original restaurant in Amherst one day and loved it so much they asked the owner to use the logo in the movie.
- ‘Kal Penn’, who plays Kumar, is a vegetarian, so technicians made veggie Castles for him.
- The characters Rosenberg and Goldstein are also a reference to the characters Rosencrantz and Guildenstern in the play “Hamlet”. The writers hope to create an alternate film with these characters that takes place in the same time period much like the way that the play “Rosencrantz & Guildenstern Are Dead” takes place in the same time period as “Hamlet”.
- When the “extreme” guy takes Harold and Kumar’s parking spot, one of them says, “Better luck tomorrow!” ‘John Cho’ (Harold) starred in Better Luck Tomorrow (2002).
- On the DVD version if you go to the Menu screen you’ll see Harold and Kumar driving Harold’s car. If you let it sit long enough, they’ll start to complain. “Why haven’t they picked one of the menu choices yet? There are only, what, four choices?” Wait awhile longer: “They STILL haven’t picked? What should we do? Do you want me to take my clothes off?”.
- Some of the books on Kumar’s bookshelf include: “To Kill A Rabbi” by Reuben Slonim, “Spy Story” by ‘Len Deighton’, “The Grand Chessboard” by ‘Zbigniew Brzezinski’, “The Knight, Death and the Devil”, “McMahon!” by ‘Jim McMahon’ and ‘Bob Verdi’, and “Catch”. Kumar also has a Fourth Edition MCAT prep book, but that’s just the hiding place for his weed, as well as his supply of roaches to roll with.
- As a “thank you” for all of the free advertising the film gave them, White Castle arranged to have collectible “Harold and Kumar” cups at all of their locations during the film’s release. It marks the first time an R-rated comedy is advertised on fast food containers.
- There were no White Castles in the filming location so a building was trucked in.
- The “dust” in the vent was made out of walnut powder, even though the crew had received a memo saying that ‘Kal Penn’ is extremely allergic to nuts. Production had to be stopped for the day that they shot the scenes with Kumar falling out of the vent in the police station while ‘Kal Penn’ had to go to the hospital. The powder was then remade with chocolate powder for the next round of shooting. (from DVD commentary)
- WILHELM SCREAM: When Harold and Kumar are riding the cheetah and Harold is hit by a tree branch.
- Contrary to the plot of the movie, there is no White Castle located in Cherry Hill, New Jersey. When the film was written, there was a White Castle in Pennsauken, NJ (the next town over, and a common mistake). Today, the nearest White Castle is in Jersey City, New Jersey, which is actually about 15 minutes from where the movie begins.
- After Kumar falls from the air conditioning duct above the police station he bumps his head on a filing cabinet. In previous shots, however the filing cabinet was nowhere near the spot where he fell.
- The blood stain on Harold’s shirt disappears for a few shots. After the raccoon scene when they almost collide with the car on the road.
- When Harold and Kumar board the hang glider, it is early morning. However, subsequent shots to the police car that is (still) chasing them show the car driving through the forest at night.
- The rear-view mirror is present in some scenes and missing in others where we see Harold and Kumar though the windshield of their car.
- The wire that is holding the hang glider is visible in several shots, especially when Harold and Kumar hit the tree.
- At the gas station, a “Country Style” donuts sign is visible on the outside. This is a Canadian chain of donut stores which would not be in New York/New Jersey. Other Canadian stores such as Shoppers Drug Mart and Chapters (a bookstore) can also be seen.
- In the beginning of the movie, when Kumar is meeting with the interviewer for the medical school, the mug on the desk continuously disappears and reappears between shots.
- When Harold and Kumar escape from the cops in Princeton, Kim, the twins and the “I’m so high kid” are in a corridor that is well lit. When the camera moves over to the other side, that corridor is empty and dark.
- When Harold and Kumar are arguing outside the gas station, a sign that says “Self Server” can be seen in the background of the shot by the pumps. New Jersey does not allow self service at gas stations, only full service.
- Harold’s car (2003 Toyota Camry) has alloy wheels, yet when they pull over for Kumar to urinate in the woods, the car has cheaper hubcaps. When the raccoon climbs in you see a close-up of the alloy wheels again, then again see hubcaps as the car pulls away. Not only that but Harold’s car has leather seats, throughout the film yet at the shot of the drive through at burger barn, you can see that the car has cloth seats.
- When Harold arrives outside his apartment building after eating at White Castle, his car is covered in mud splats, etc, supposedly from when NPH took it on the joy ride. But when Harold and Kumar come out of White Castle and get into the just a few moments earlier, it is spotless.
- When Harold starts yelling about having no money at White Castle, he bangs down on the counter knocking over the yellow mustard container. The mustard is alternately standing/lying down in subsequent shots.
- Throughout the movie you can clearly see Harold’s laptop bag fold in the middle showing there is no laptop in the bag. Particularly visible at the gas station.
- When Harold and Kumar are hiding in the girls bathroom and peeking out over the top of the stall, the feet of one of the sisters can be seen in the stall next to theirs before she is actually shown going in.
- When Harold and Kumar are looking through the window of the Hot Dog heaven, a cup on the table says “Licks”. Licks is a burger chain where the movie was filmed.
- When the cops run into the business hippie at Princeton the big bag of pot flies out of the backpack but when they pick up the hippies backpack the pot is back inside.
- When the two girls are in the bathroom putting on make-up, if you look in the mirror, the door of the stall, to the left, is open in one shot and closed in another.
- When Harold and Kumar are about to eat the burgers, Kumar stops Harold from eating his burger so they can bite into them simultaneously. Prior to this, Harold’s burger is still in a box and suddenly it’s out of the box.
- When Kumar stops the car and urinates on the bush, the street sign changes direction repeatedly between shots.
- When Harold and Kumar almost crash into Goldstein and Rosenberg, when the two approach the car, Kumar rolls the window down all the way. Then in the next shot where you see Kumar get out of the car the window is slightly up.
- When Harold almost drives the Extreme 4×4 off the cliff, a metal structure can be seen holding the car up. Later in the wide shot when the police arrive, the same metal support can be seen.
- The fog lights on Harold’s car repeatedly alternate between on and off over the course of the entire movie.
- In Kumar’s Med school interview, his collar alternates position. He begins tucked with tabs in, then one side tucked under his jacket, then both tabs out, then the opposite tab tucked, completely tucked in, then both out.
- When the Burger Shack guys goes insane and yells, “Let’s burn this mother down,” he loses his hat while knocking things down. But when he rises to talk to Harold and Kumar, his hat is back on his head.
- Before the raccoon climbs into Harold’s car, he picks up his laptop to do some work, and his glasses are off. When we cut back to his face, he is wearing his glasses.
- When Kumar stops the car to urinate in the bushes. As raccoon climbs in the back seat of car, the puppeteers hand and the puppet stick is clearly visible between the front seats.
- The cut Harold receives from the extreme punks grows as the movie progresses.
- When the extreme punks are in the store, and NPH steals Harold’s car. Harold and Kumar look around the parking lot, the extreme Ford truck is missing, even though the punks are still in the store.
- When Harold and Kumar almost run off the cliff in the punks’ SUV, the front left wheel is hanging off the cliff in mid-air. A few seconds later, as they hear the siren and Harold says, “We’re trapped!” the wheel is on solid ground.
- Harold and Kumar reach Burger Shack thinking that there is a White Castle there. They leave after the employee tells them about the “secret sauce.” As they are driving away Kumar says “Remember when Goldstein worked there?”, yet moments before they had no idea that Burger Shack was there.
- Freakshow’s wife opens her shirt twice.
- When Kumar was on his cell at the start of the movie and he shocks the principal, the guy drops his cup of coffee and it spills on him. However, in the next scene, it appears back on his table. After Kumar is done and when the guy starts to talk, we can see that the cup is nowhere to be seen on his desk.
- The slider special (as shown on the TV commercial at the beginning) is $2.99 for 6 burgers, fries and a drink. If they ordered 5 specials each, their bill should be just under $30 before tax, and yet they are charged almost $50. However, in the finale they order separate items (30 burgers, 5 fries, and 4 drinks each). Unless the server converted that order into specials (8 specials, plus 10 burgers and 2 fries), they would not get the cheaper price.
- In the beginning when Billy says he owes Harold “just one”, he initially points with his left hand, but subsequent shots show him using his right.
- While the geography of New Jersey in the movie is very accurate during Harold and Kumar’s journey from north Jersey to south Jersey, there is simply no need for them to have driven so far to find a White Castle. The trip from Hoboken to Cherry Hill is 85 miles and takes about 2 hours (without traffic), and there about 20 White Castles along the way. In fact, Harold and Kumar didn’t even have to get on a highway to find one; there is a White Castle on Kennedy Boulevard in Jersey City, which is adjacent to Hoboken.
- The cheetah can be clearly heard roaring during the film. Cheetahs cannot roar, they can only purr, hiss, and growl.
- “Chick Magnet” Written by ‘Mike Herrera’ Performed by ‘MXPX’ Courtesy of Tooth & Nail Records by arrangement with Position Soundtrack Services Courtesy of Thirsty Moon River Publishing (ASCAP) (c) 1998 Administered by EMI Christian Music Publishing
- “Ridin” Written by ‘Ali Dee’ (as Ali Theodore), ‘Zach Danziger’, Tim Lefeve, Henry Hey Performed by 86 & ‘Classic’ Courtesy of Spirit Music Group on behalf of Deetown Productions Courtesy of Spirit One Music on behalf of Canvas One Music
- “Camel Toe” Written by M. Goias, K. Grady Performed by ‘Fannypack’ Courtesy of Tommy Boy Entertainment Courtesy of Tommy Boy Music Administered by Hammock District Music (ASCAP)/Fancy Land Music (ASCAP)
- “Let’s Get Retarded” Written by ‘Will i Am’ (as Will Adams), ‘Apl.de.Ap’ (as Allan Pineda), ‘Taboo (II)’ (as Jaime Gomez), ‘Terence Yoshiaki’, ‘Mike Fratantuno’, ‘George Pajon Jr.’ (as George Pajon) Performed by ‘The Black Eyed Peas’ Courtesy of A&M Records under license from Universal Music Enterprises Courtesy of Cherry River Music Company (BMI), Tuono Music/Hisako Songs Administered by South Hudson Music (BMI), El Cubano Music (BMI)
- “Fall In Line” Written by Joe Valiente, Daniel Patterson, Jim Woodling Performed by ‘Phunk Junkeez’ From the album “Rock It Science” Courtesy of Suburban Noize Records by arrangement with Media Creature Music Published by Media Creature Music (ASCAP) a/c PJZ Music (ASCAP)
- “Rock to the Rhythm” Written by Gideon Black, Nicholas Black, Jason Rabinowitz Performed by ‘Lexicon’ Courtesy of Spytech by arrangement with Position Soundtrack Services Courtesy of Mixed Metaphor Music (BMI), Gideon Black, Nicholas Black and Jason Rabinowitz
- “Faraway” Written by ‘Ali Dee’ (as Ali Theodore), Vincent Alfieri Performed by Dara Schindler Courtesy of Spirit Music Group on behalf of Deetown Productions Courtesy of Spirit One Music on behalf of Canvas One Music
- “Mariachi Speier” Written by ‘Eric Speier’ Performed by ‘Eric Speier’ Courtesy of Deetown Productions Courtesy of Spirit One Music on behalf of Canvas One Music
- “Click Click Pow” Written by Gideon Black, Nicholas Black, Colten Fisher Performed by ‘Lexicon’ Courtesy of Spytech Records by arrangement with Position Soundtrack Services Courtesy of Mixed Metaphor Music (BMI)
- “Dance of the Warrior” Written by ‘Anthony Anderson’, Stephen Gaines, Pallo Peacock Performed by ‘Zion I’ (as Zion-i) Courtesy of Live Up Records by arrangment with Position Soundtrack Services Courtesy of Position Music Publishing (ASCAP)
- “Rock Your Body 2004″ Written by E. Newman, R. Clivilles, M. Perez, V. Matos Performed by ‘Stagga Lee’ Courtesy of ArtistDirect/Robert Clivilles for M.V.P. Productions Entertainment Published by Dontana Publishing (ASCAP), R. Clivilles Music (ASCAP), Mighty One Music (SESAC), Victor Matos Music (ASCAP)
- “Looking for Bueno” Written by ‘David Hilker’, ‘John Costello (III)’, Jeffrey A. Freundlich Performed by Marcus Latief Scott Courtesy of Wild Whirled Music
- “Same Ole Song” Written by Joe Valiente, Daniel Patterson, Jim Woodling Performed by ‘Phunk Junkeez’ Courtesy of Suburban Noize Records by arrangement with Media Creature Music Published by Media Creature Music (ASCAP) a/c PJZ Music (ASCAP)
- “Girl from Ypsilanti” Written by ‘Daniel May’ Performed by ‘Daniel May’ Courtesy of Master Source Music
- “Gangsta Gangsta” Written by D. Black and J. O’Neal Performed by J. O’Neal and D. Black Courtesy of www.dblackmusic.com and www.jsagatti.com
- “Crazy on You” Written by ‘Ann Wilson’, ‘Nancy Wilson’, Roger Fisher Performed by ‘Heart’ Courtesy of Capitol Records under license from EMI Film and Television Music Courtesy of Universal Music Corporation (ASCAP), Sony/ATV Tunes LLC (ASCAP)
- “On the Ganges” Written by ‘Matt Hirt’ Performed by ‘Matt Hirt’ Courtesy of Master Source Courtesy of Revision West (BMI)
- “Ballin Boy” Written by D. Hill, T. Latimer Performed by No Good Courtesy of ArtistDirect
- “Total Eclipse of the Heart” Written by James Steinman Performed by ‘Nicki French’ Courtesy of Razor & Tie Direct Courtesy of Edward B. Marks Music Company on behalf of Lost Boys Music
- “Baby Baby” Written by ‘Amy Grant’, ‘Keith Thomas’ Performed by ‘Amy Grant’ Courtesy of A&M Records under license from Universal Music Enterprises Published by BMG Songs Inc. (ASCAP), Age to Age Music Inc. c/o The Loving Company (ASCAP), Yellow Elephant Music (ASCAP)
- “Hold On” Written by ‘Glen Ballard’, ‘Chynna Phillips’, ‘Carnie Wilson’ Performed by ‘Wilson Phillips’ Courtesy of SBK Records under license from EMI Film and Television Music Courtesy of EMI/Blackwood Music, Universal-MCA Music Publishing, A.D.O. Universal Studios, Inc. on behalf of itself and Aerostation Corporation
- “Also Sprach Zarathustra” Written by ‘Richard Strauss’ Performed by ‘David Kitay’ Courtesy of C.F. Peters Corporation
- “I Wanna Get Next to You” Written by ‘Norman Whitfield’ (as Norman Jesse Whitfield) Performed by ‘Rose Royce’ Courtesy of MCA Records under license from Universal Music Enterprises Published by Universal-Duchess Music Corporation (BMI)
Director: Steven Spielberg
Length: 115 min
Languages: English, German, Hebrew, Spanish, Arabic, Nepali
Gross: $384,140,454 (Worldwide)
IMDb: 8.70 (174706 votes)
Harrison Ford (Indiana Jones), Karen Allen (Marion Ravenwood), Paul Freeman (Dr. Rene Belloq), Ronald Lacey (Major Arnold Toht), John Rhys-Davies (Sallah), Denholm Elliott (Dr. Marcus Brody), Alfred Molina (Satipo), Wolf Kahler (Colonel Dietrich), Anthony Higgins (Gobler), Vic Tablian (Barranca/Monkey Man), Don Fellows (Col. Musgrove), William Hootkins (Major Eaton), Bill Reimbold (Bureaucrat), Fred Sorenson (Jock), Patrick Durkin (Australian Climber)
The year is 1936. A professor who studies archeology named Inidana Jones is venturing in the jungles in South America searching for a golden statue. Unfortunately, he sets off a deadly trap doing so, miraculously, he escapes. Then, Jones hears from a museum curator named Marcus Brody about a biblical artifact called The Ark of the Covenant, which can hold the key to humanly existence. Jones has to venture to vast places such as Nepal and Egypt to find this artifact. However, he will have to fight his enemy Renee Belloq and a band of Nazis in order to reach it.
- Marion: You’re not the man I knew ten years ago.
Indiana: It’s not the years, honey, it’s the mileage.
- Toht: What shall we talk about?
- Belloq: You and I are very much alike. Archeology is our religion, yet we have both fallen from the pure faith. Our methods have not differed as much as you pretend. I am but a shadowy reflection of you. It would take only a nudge to make you like me. To push you out of the light.
Indiana: Now you’re getting nasty.
- [Toht is going to torture Marion with a hot poker]
Marion: Wait, wait. I can be reasonable.
Toht: That time has passed.
Marion: You don’t need that. I’ll tell you everything.
Toht: Yes, I know you will.
- Sallah: [catches date and points to dead monkey] Bad dates.
- Omar: This were the old way, this says “six Kadan height – “
Indiana: About seventy-two inches.
[turns medallion over]
Omar: “And take back one Kadan, to honor the Hebrew God whose ark this is.”
- Toht: Your fire is dying, here. Why don’t you tell me where the piece is right now?
Marion: Listen, Herr Mack, I don’t know what kind of people you’re used to dealing with, but nobody tells me what to do in my place.
Toht: Fräulein Ravenwood, let me show you what I am used to…
- Indiana: Do we need the monkey?
Marion: I’m surprised at you. Talking that way about our baby. He’s got your looks, too.
Indiana: And your brains.
- [Indy meets Belloq in a crowded bar]
Belloq: Good afternoon, Doctor Jones.
Indiana: I oughta kill you right now.
Belloq: Not a very private place for a murder.
- [Discussing the fate of the Ark]
Maj. Eaton: We have top men working on it now.
Maj. Eaton: Top… men.
- Sallah: [to Indy] Asps… very dangerous. You go first.
- Indiana: This site also demonstrates one of the great dangers of archeology, not to life and limb, although that does sometimes take place, I’m talking about folklore.
- Sallah: Oh, my friends. I’m so pleased you’re not dead.
- Toht: Shoot them. Shoot them both.
- Belloq: All your life has been spent in pursuit of archeological relics. Inside the Ark are treasures beyond your wildest aspirations. You want to see it opened as well as I. Indiana, we are simply passing through history. This, this *is* history.
- Marion: Bar’s closed.
Toht: We are – hehe – not thirsty.
- Sallah: Indy, there is something that troubles me.
Indiana: What is it?
Sallah: The Ark. If it is there, at Tanis, then it is something that man was not meant to disturb. Death has always surrounded it. It is not of this earth.
- [Army Intelligence officer describing Indiana Jones]
Major Eaton: Professor of archeology, expert on the occult, and how does one say it? Obtainer of rare antiquities.
- Indiana: Hello, Marion.
Marion: Indiana Jones. I always knew some day you’d come walking back through my door. I never doubted that. Something made it inevitable. So, what are you doing here in Nepal?
Indiana: I need one of the pieces your father collected.
[Marion surprises him with a right cross to the jaw]
Marion: I’ve learned to hate you in the last ten years.
Indiana: I never meant to hurt you.
Marion: I was a child. I was in love. It was wrong and you knew it.
Indiana: You knew what you were doing.
Marion: Now I do. This is my place. Get out.
- [Indiana falls asleep while kissing her]
Marion: We never seem to get a break, do we?
- Indiana: There’s a big snake in the plane, Jock.
Jock: Oh, that’s just my pet snake Reggie.
Indiana: I hate snakes, Jock. I hate ‘em.
Jock: C’mon, show a little backbone, will ya?
- [the old man reveals writing on the back of the medallion, which states that part of the staff must be removed]
Indiana: Balloq’s medallion only had writing on one side? You sure about that?
Indiana: Balloq’s staff is too long.
Indiana, Sallah: They’re digging in the wrong place!
- Belloq: So once again, Jones, what was briefly yours is now mine.
- Indiana: There’s a big snake in the plane, Jock!
Jock: Oh, that’s just my pet snake Reggie.
Indiana: I hate snakes, Jock! I hate ‘em!
Jock: Come on! Show a little backbone, will ya!
- Belloq: Please, sit down before you fall down.
- [Katanga meets Indy, who is dirty and injured from the truck chase]
Katanga: Mr. Jones! I’ve heard a lot about you, sir. Your appearance is exactly the way I imagined.
- Messenger Pirate: [Indy is about to board a Nazi U-boat] I can’t find Mr. Jones captain, I’ve looked everywhere.
Katanga: He has to be here somewhere. Look again.
Messenger Pirate: [notices Indy on the U-Boat] I found him.
Messenger Pirate: [pointing to the U-Boat] DERE!
- Marion: What do you want?
Toht: Ah, the same thing your friend Dr. Jones wanted? Surely he mentioned there would be other interested parties.
Marion: Must have slipped his mind.
Toht: The man is nefarious. I hope for your sake that he has not yet acquired it.
Marion: Why, are you willing to offer more?
Toht: Oh, almost certainly. Do you still have it?
Marion: [blows smoke in his face] No.
- Satipo: Let us hurry. There is nothing to fear here.
Indiana: That’s what scares me.
- [as the Nazis are opening the Ark]
Indiana: Marion, don’t look at it. Shut your eyes, Marion. Don’t look at it, no matter what happens!
- Indiana: Stay here.
Satipo: [shrugs] If you insist, señor.
- Major Eaton: Good God!
Brody: Yes, that’s what the Hebrews thought.
- [Upon opening the Well of the Souls and peering down into it]
Sallah: Indy, why does the floor move?
Indiana: Give me your torch. [Sallah does, and Indy drops it in] Snakes. Why’d it have to be snakes?
Sallah: Asps. Very dangerous. You go first.
- Major Eaton: Doctor Jones, we’ve heard a lot about you.
Indiana: Have you.
Major Eaton: Professor of Archeology. Expert on the occult and how does one say it? Obtainer of rare antiquities.
Indiana: That’s one way of saying it. Why don’t you sit down you’ll be more comfortable.
Colonel Musgrove: Yes, you’re a man of many talents.
Major Eaton: Now, you studied under Professor Ravenwood at the University of Chicago.
Indiana: Yes, I did.
Major Eaton: You have no idea of his present whereabouts?
Indiana: Only rumors really. Somewhere in Asia, I think. I haven’t really spoken to him in 10 years. We were friends once but we had a bit of a falling out, I’m afraid.
Colonel Musgrove: Now, Doctor Jones, you must understand that this is all completely confidential.
Indiana: I understand.
Colonel Musgrove: Yesterday afternoon our European section intercepted a German communique that was sent from Cairo to Berlin.
Major Eaton: You see for the last two years the Nazis have had teams of archeologists running around the world looking for all sorts of religious artifacts. Hitler’s gone nuts on the subject. He’s crazy. He’s obsessed with the occult. And right now, apparently, there is some kind of German archeological dig going on in the desert outside Cairo.
Colonel Musgrove: Now we have some information here but we can’t make anything out of it and maybe you can. “Tannis development proceeding. Acquire headpeace, Staff of Ra, Abner Ravenwood, US.”
Indiana: The Nazis have discovered Tannis!
Major Eaton: Now just what does that mean to you? Tannis.
Indiana: Tannis is one of the possible resting places of the Lost Ark.
Colonel Musgrove: The Lost Ark?
Indiana: Yeah, the Ark of the Covenant. The chest the Hebrews used to carry the 10 Commandments around in.
Major Eaton: Alright, now, what do you mean the 10 Commandments, you talking about THE 10 Commandments?
Indiana: Yes, the actual 10 Commandments the original stone tablets that Moses came down out of Mount Horeb and smashed if you believe in that sort of thing. Didn’t you guys ever go to Sunday School? Look, the Hebrews took the broken pieces and put them into the Ark. When they settled in Cainan they put the Ark in a place called The Temple of Solomon where it stayed for many years. ‘Till all of the sudden, whoosh, it was gone.
Major Eaton: Where?
Indiana: Nobody knows where or when.
- Belloq: The girl was mine.
Dietrich: She’s of no use to us. Only your mission for the Führer matters.
- Toht: You Americans, you’re all the same. Always overdressing for the wrong occasions.
- Belloq: Look at this. It’s worthless – ten dollars from a vendor in the street. But I take it, I bury it in the sand for a thousand years, it becomes priceless. Like the Ark.
- Indiana: Too bad the Hovitos don’t know you the way I do, Belloq.
Belloq: Yes, too bad. You could warn them… if only you spoke Hovitos!
- Indiana: Take this… [hands torch to Marion] Wave it at anything that slithers.
- [Marion removes heavy robe to reveal sexy satin negligèe]
Indiana: Where’d you get that?
Marion: From him.
Indiana: Who him?
Marion: Katanga. I got a feeling I’m not the first woman to travel with these pirates.
- Indiana: Meet me at Omar’s. Be ready for me. I’m going after that truck.
Indiana: I don’t know, I’m making this up as I go.
- Sallah: Indy, you have no time. If you still want the ark, it is being loaded onto a truck for Cairo.
Indiana: Truck? What truck?
- [talking about Marion's late father]
Marion: He said you were a bum.
Indiana: Aw, he’s being generous.
Marion: The most gifted bum he ever trained. You know, he loved you like a son. Took a hell of a lot for you to alienate him.
Indiana: Not much, just you.
- Belloq: Dr. Jones. Again we see there is nothing you can possess which I cannot take away.
- [following the destruction of the airfield, Belloq and the Nazis hastily make new arrangements]
Dietrich: Get the Ark away from this place immediately! Have it put on the truck! We will fly it out of Cairo! And Gobler, I want plenty of protection!
Gobler: Jawohl, Herr Ob…
[Gobler is interrupted midsentance by an explosion; the Nazis scatter]
Belloq: [to himself] Jones!
- [Marion is being kidnapped]
Marion: You can’t do this to me, I’m an AMERICAN.
- Belloq: It’s a transmitter, a radio for speaking to God.
- Dietrich: Dr. Jones, surely you don’t think you can escape from this island?
Indiana: That depends on how reasonable we’re all willing to be. All I want is the girl.
Dietrich: And if we refuse?
Indiana: Then your Füher has no prize.
- [Marion and Belloq are both very drunk]
Marion: [laughs] What is this stuff, Rene?
Belloq: [laughing as well] I grew up on this. It’s my family label.
[Marion falls to the ground laughing then calmly and quickly pulls out the knife she was concealing and points it at Belloq threateningly]
Marion: We-he-he-ell I have to be going now, Rene.
Belloq: [makes a dismissive gesture] Go on.
Marion: [walking off] I like you, Rene, very much. Perhaps we’ll meet again under better circumstances.
- Marion: Well, Jones, at least you haven’t forgotten how to show a lady a good time.
Indiana: Boy, you’re something.
Marion: Yeah? I’ll tell you what. Until I get back my five thousand dollars, you’re gonna get more than you bargained for. I’m your goddamn partner.
- Indiana: The Ark of the Covenant, the chest that the Hebrews used to carry around the Ten Commandments.
Major Eaton: What, you mean THE Ten Commandments?
Indiana: Yes, the actual Ten Commandments, the original stone tablets that Moses brought down from Mt. Horeb and smashed, if you believe in that sort of thing…
[the officers stare at him blankly]
Indiana: Didn’t any of you guys ever go to Sunday school?
- Belloq: What a fitting end to your life’s pursuits. You’re about to become a permanent addition to this archaeological find. Who knows? In a thousand years, even you may be worth something.
Indiana: Ha ha ha ha. [under his breath] Son of a bitch.
- Indiana: [to Satipo] Adios, Stupido…
- Katanga: Jones is dead. I killed him. He was of no use to us. This girl, however, has certain value where we’re headed. She’ll bring a very fine price. Herr Colonel – that cargo you’ve taken – if it’s your goal, go in peace with it, but leave us the girl. It will reduce our loss on this trip.
Dietrich: Savage! You are not in a position to ask for anything. We will take what we wish, and then decide whether or not to blow your ship from the water.
- Belloq: Next time, Indiana Jones, it will take more than children to save you.
- Brody: The Bible speaks of the Ark leveling mountains and laying waste in entire regions. An Army that carries the Ark before it… is invincible.
- Indiana: Here, take this,
[hands Marion a torch]
Indiana: Wave it at anything that slithers.
Marion: The whole place is slitherin’!
- Indiana: I’m gonna blow up the Ark, Rene.
Belloq: Your persistence surprises even me. You’re going to give mercenaries a bad name.
- [Belloq and the Nazis are walking and talking]
Belloq: I told you not to be premature in your communique to Berlin. Archeology is not an exact science. It does not deal in time schedules.
Dietrich: The Fuhrer is not a patient man. He demands constant reports. You led me to believe…
Belloq: [interrupting him] Nothing! I made no promises! I merely said it looked very favorable. Besides. With the information in our possession, my calculations were correct.
- Brody: Marion’s the least of your worries right now, believe me, Indy.
Indiana: What do you mean?
Brody: Well, I mean that for nearly three thousand years man has been searching for the lost ark. It’s not something to be taken lightly. No one knows its secrets. It’s like nothing you’ve ever gone after before.
Indiana: [laughing] Oh, Marcus. What are you trying to do, scare me? You sound like my mother. We’ve known each other for a long time. I don’t believe in magic, a lot of superstitious hocus pocus. I’m going after a find of incredible historical significance, you’re talking about the boogie man. Besides, you know what a cautious fellow I am.
[throws his gun into his suitcase]
- [looking at an old picture of the Ark]
Colonel Musgrove: Now, what’s that supposed to be coming out of there?
Indiana: Lightning. Fire. The power of God or something.
Major Eaton: I’m beginning to understand Hitler’s interest in this.
- Maj. Eaton: [sees a picture of the Ark with rays of power coming out of it] Good God!
Brody: Yes, that’s what the Hebrews thought.
- [Belloq and the Nazis are walking and talking some more]
Belloq: Who knows. Perhaps the Ark is still waiting in some antechamber for us to discover. Perhaps there’s some vital bit of evidence which eludes us. Perhaps…
Gobler: [interrupting him] Perhaps the girl can help us.
Dietrich: My feeling exactly. She was in possession of the original piece for years. She may know much if… properly motivated.
Belloq: I tell you the girl knows nothing.
Dietrich: I am surprised to find you squeamish. That is not your reputation. Anyway, it needn’t concern you. I have the perfect man for this kind of work.
Toht: Heil Hitler.
- Indiana: I can only say I’m sorry so many times.
Marion: Well, say it again anyway.
- [Indiana needs his bullwhip to swing across a chasm]
Indiana: Give me the whip.
Satipo: Throw me the idol. No time to argue. Throw me idol, I’ll throw you the whip.
Indiana: [throws the idol] Give me the whip.
Satipo: Adiós, señor.
- Indiana: [Indy's first lines] This is it… This is where Forrestall cashed in.
Satipo: A friend of yours?
Indiana: A competitor… he was good. He was very good.
- Belloq: How odd that it should end this way for us after so many stimulating encounters. I almost regret it. Where shall I find a new adversary so close to my own level?
Indiana: Try the local sewer.
- [first lines]
Satipo: [picking up poison dart] The Hovitos are near. The poison is still fresh, three days. They’re following us.
Barranca: If they knew we were here, they would’ve killed us already.
- Indiana: You want to talk to God? Let’s go see him together, I’ve got nothing better to do.
- [last lines]
Marion: Hey, what happened? You don’t look very happy.
Indiana: Fools. Bureaucratic fools.
Marion: What’d they say?
Indiana: They don’t know what they’ve got there.
Marion: Well, I know what I’ve got here. Come on. I’ll buy you a drink. You know, a drink?
- Brody: However, an Egyptian pharaoh…
Brody: …yes, invaded the city of Jerusalem round about 980 B.C., and he may have take the Ark back to the city of Tanis and hidden it in a secret chamber called The Well of Souls.
Major Eaton: [skeptically] Secret chamber?
Brody: However, about a year after the pharaoh had returned to Egypt, the city of Tanis was consumed by the desert in a sand storm which lasted a whole year. Wiped clean by the wrath of God.
Major Eaton: [turns slowly toward Col. Musgrove] Uh… huh.
Colonel Musgrove: Obviously, we’ve come to the right men. Now you seem to know, uh, all about this Tanis, then.
Indiana: No, no, not really. Ravenwood is the real expert. Abner did the first serious work on Tanis. Collected some of its relics. It was his obsession, really. But he never found the city.
Major Eaton: Frankly, we’re somewhat suspicious of Mr. Ravenwood, an American being mentioned so prominently in a secret Nazi cable.
Brody: Oh, rubbish. Ravenwood’s no Nazi.
Colonel Musgrove: Well, what do the Nazis want him for then?
Indiana: Well, obviously, the Nazis are looking for the headpiece to Staff of Ra and they think Abner’s got it.
Major Eaton: What exactly is a headpiece to the Staff of Ra?
Indiana: Well, the staff is just a stick. I don’t know, about this big. Nobody really knows for sure how high. And it’s… [turns blackboard to blank side] it’s, uh… it’s capped with an elaborate headpiece in the shape of the sun with a crystal in the center. And what you did was, you take the staff to a special room in Tanis, a map room with a miniature of the city all laid out on the floor. And if you put the staff in a certain place at a certain time of day, the sun shone through here and made beam that came down on the floor here… and gave you the exact location of the Well of the Souls.
Colonel Musgrove: Where the Ark of the Covenant was kept, right?.
Indiana: That’s exactly what the Nazis are looking for.
Major Eaton: Now what does this Ark look like?
Indiana: Uh… there’s a picture of it right here. [opens a book on the table] That’s it. [they all look at an illustration of the Hebrews devastating their enemy with the Ark]
Major Eaton: Good God!
Brody: Yes, that’s just what the Hebrews thought.
Colonel Musgrove: [pointing to a beam of light] Uh, now what’s that supposed to be coming out of there?
Indiana: Lightning. Fire. Power of God or something.
Major Eaton: I’m beginning to understand Hitler’s interest in this.
Brody: Oh, yes. The Bible speaks of the Ark leveling mountains and laying waste to entire regions. An army which carries the Ark before it… is invincible.
- Marion: [as she sees Indy's whip and thinks it to be a snake in the Well of Souls, thus putting a torch to it] Indy!
Indiana: Ahh! Jes-us!
- ‘Ronald Lacey’’s apparent torture weapon which is actually a coat hanger was a joke that ‘Steven Spielberg’ had tried two years earlier with ‘Christopher Lee’ in 1941 (1979).
- ‘John Williams’ had actually written two themes for the film. He played them both for ‘Steven Spielberg’ on the piano and Spielberg loved them so much, he suggested that Williams use both of them. He did and the result was the famous “Raiders March,” which to this day has become one of the most popular movie themes of all time.
- Traditionally when one of his films is about to open, ‘George Lucas’ goes on holiday to get away from all the hoopla. As Star Wars (1977) was just about to open, Lucas went to Hawaii where he was joined by ‘Steven Spielberg’. When the grosses for Lucas’s film came in, and it was clear that his movie was going to be a hit, Lucas relaxed and was able to discuss other topics with his friend. It was at this point that Spielberg confessed he always wanted to direct a James Bond film, to which Lucas told him he had a much better idea – an adventure movie called “Raiders of the Lost Ark”. The conversation came up while the two were making a sand castle. After their trip, they got together and developed the script with ‘Lawrence Kasdan’.
- ‘Steven Spielberg’ and ‘Melissa Mathison’ wrote a script during shooting breaks on the location of this film. Mathison was there to visit her husband, ‘Harrison Ford’ and Spielberg dictated to her a story idea he had; that script was eventually called E.T.: The Extra-Terrestrial (1982).
- The two songs sung by Sallah in moments of triumph (first in the Egyptian’s house and later at the dock) are from the Gilbert and Sullivan play “H.M.S. Pinafore”.
- The scene where Indy threatens to blow up the Ark with a bazooka as it is being carried through a canyon was filmed in the same canyon in Tunisia used in Star Wars (1977) when R2-D2 was zapped and stolen by Jawas.
- A sheet of glass separates ‘Harrison Ford’ and the arched (and highly dangerous) cobra when he falls into the Well of Souls. The snake actually did spray venom onto the glass.
- The giant boulder that chases after Indiana Jones at the start of the film was made of fiberglass. On the Bonus Features DVD, sound designer ‘Ben Burtt’ said that in order to get the proper sound effects for the giant boulder, he and the sound crew tried pushing boulders down a hill, but the sounds they were getting weren’t up to par with what they were looking for, and later that day, as they were leaving in a Honda Civic that they coasted a car down a gravel embankment, and Burtt noticed that the sound was just what they were looking for, so he grabbed a microphone and held it near one of the Civic’s rear tires to record the effect.
- ‘Steven Spielberg’ originally envisioned ‘Giancarlo Giannini’ for the role of Dr. Rene Belloq and then considered French actor/singer ‘Jacques Dutronc’ (who, unfortunately, doesn’t speak a word of English) before deciding on ‘Paul Freeman’.
- To achieve the sound of thousands of snakes slithering, sound designer ‘Ben Burtt’ stuck his fingers into a cheese casserole. This was augmented by applying wet sponges to the rubber on a skateboard.
- Three different stunt men were used to double for ‘Harrison Ford’: ‘Vic Armstrong’ when riding the horse; ‘Martin Grace’ at the falling statue and ‘Terry Leonard’ when pulled behind the truck.
- On the Bonus Features DVD, ‘John Rhys-Davies’ talks about how when he auditioned for the role of Sallah, he was concerned since the script originally described Sallah as a “5-foot-2, skinny, Egyptian digger”. ‘Steven Spielberg’ mentioned that when he first heard Rhys-Davies speak, he reminded him of the Shakespearean character Falstaff. Spielberg then told Rhys-Davies that for his performance as Sallah, to combine his earlier role as “Vasco Rodrigues” from the miniseries “Shogun” (1980) with the character of Falstaff.
- In the submarine pen, the German who comes upon Indiana says, in German, “Good day” “Tired? Why do you sleep? Wash yourself! And straighten your shirt, so that you don’t look like a pig at your court martial…” “Stand up… [straight]” He is cut off by Indiana’s punch.
- ‘Bill Murray’ was offered the role of Indiana Jones, but turned it down due to his commitment to the TV series “Saturday Night Live” (1975).
- The truck chase took approximately eight weeks to film.
- In Journey to the Center of the Earth (1959), ‘James Mason’ must also escape a huge boulder and is swept through tunnels by gushing water. Also, Mason is shown the desired path under the earth by a shaft of sunlight through a mountain crevice, similar to Indiana Jones being shown the desired location by a shaft of sunlight through the Staff of Ra.
- Just before the fight around the Flying Wing, Gobler (‘Anthony Higgins’) says to Dietrich (‘Wolf Kahler’) in German: “The plane is ready. It can be loaded.”
- The name Marion Ravenwood was a combination of two names: Marion was the grandmother of ‘Lawrence Kasdan’’s wife, and Ravenwood was from Ravenwood Court, a small street off Beverly Glen.
- Indy’s battered leather jacket was actually brand new and had to be artificially aged by the costume department. There were 10 jackets for general wear and tear and stunt purposes.
- The building used for one of the exterior shots of the university is the large music conservatory on the campus of The University of the Pacific in Stockton, California.
- ‘Nick Mancuso’ and ‘Peter Coyote’ tested for the role of Indy.
- Although the Nazis speak German in many scenes, most of the lines were dubbed for the German versions of the film because the actors spoke very bad German with a very strong American accent. Some lines were simply wrong. On the recent DVD release, no German lines are wrong. The majority of the German lines seems to be spoken by native German speakers with a slight south German accent.
- The first time ‘Steven Spielberg’ ever directed in the UK.
- The name “Toht” is somewhat of a pun. It is pronounced the same as the German word “Tod”, which means “Death”.
- The hieroglyphics in the Well of Souls include engravings of R2-D2 and C-3PO (from Star Wars (1977), etc). They can be seen on a post to the right of Indy and Sallah as they remove the Ark.
- For the conceptual process/drawings, ‘Ralph McQuarrie’ was not brought in but instead, ‘George Lucas’ brought in Marvel artist ‘Jim Steranko’.
- The documentary Great Movie Stunts: Raiders of the Lost Ark (1981) (TV) inadvertently gives away one of the secrets behind the stunt where Indy goes under the moving truck. The camera slate (visible in the documentary) shows the camera was set at 20 frames per second instead of the traditional 24 fps; in other words, the shots were done in “fast motion,” so the truck was not really moving as fast as depicted on screen.
- The German aircraft in the desert is a complete fantasy product, although with various design elements borrowed from other German aircraft projects.
- The crate in which the Ark is placed at the end of the movie has the number 9906753.
- The Pan American seaplane that Indiana Jones flies to Nepal in is a Short Solent Mark III flying boat modified by matte effects to resemble a Boeing 314 Clipper. The producers contacted the owner of the craft about using the flying boat for the movie and though he responded that he was happy to help out, he informed them that only one of the flying boats engines had been restored to working order, therefore, for the shot used in the movie, we see only that single engine running. Additionally, in order to convey the fact that it was a passenger aircraft, the directer had several production assistants dressed in period clothing and filmed them simply walking through the doorway of the plane.
- ‘George Lucas’ did some second unit work on the film.
- The sounds of the monkey were performed (uncredited) by voice actor ‘Frank Welker’.
- Stuntman ‘Terry Leonard’, who doubled ‘Harrison Ford’, as he was dragged behind the truck, only agreed to do the stunt if his friend & colleague ‘Glenn Randall Jr.’ was driving it.
- Indiana Jones never loses his hat as an homage to the classic serials of the 1940s. In those serials, the heroes’ hats stayed on heads through virtually any assault. This was done for continuity reasons, but also because it was considered poor taste for a gentleman to be without his hat in certain situations – even on the silver screen. It eventually becomes a running joke through the series. Indy does, however, lose his hat once each in both Indiana Jones and the Temple of Doom (1984) and Indiana Jones and the Last Crusade (1989).
- Originally intended as a small low-budget adventure, production costs tripled to $22 million.
- The music in this film is the only “Indiana Jones” score performed by the London Symphony Orchestra, the group of musicians best known for performing the score to Star Wars (1977).
- The floatplane in the opening sequence has the registration prefix “OB-”, which indicates that the action takes place in Peru.
- According to an article in Time Magazine in 1981, the Washington Monument shot near the end was taken from ‘Robert Wise’’s production of The Hindenburg (1975).
- When Indy gets on the plane on his way to Nepal, the Nazi agent aboard is reading a Life magazine. It is issue Volume 1, Number 2, dated November 30th, 1936 (the second issue of the magazine). Pages 42 and 43 are dedicated to the water color paintings of ‘Adolf Hitler’.
- The German plane that the Ark was going to be transported on is an experimental flying wing design by Blohm and Voss. This is a shipbuilding company that designed some rather unorthodox aircraft in the 1930s and 1940s.
- Begins with a shot of a peak in the jungle which is reminiscent of the Paramount Pictures logo. See also Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989) and Indiana Jones and the Kingdom of the Crystal Skull (2008).
- Despite having the dream team of ‘George Lucas’ and ‘Steven Spielberg’ behind the film, it was initially turned down by every studio in Hollywood. Only after much persuasion did Paramount agree to do it.
- In 2007, the American Film Institute ranked this as the #66 Greatest Movie of All Time.
- There are several deleted scenes unreleased on either DVD or VHS. Among the deleted scenes are: Marion explains to Indy the cause of Abner’s death. As Indy was about to leave he returns to Marion to be kissed again. The shot appears in some DVD, VHS covers. – A longer version of Indy fighting against ‘Pat Roach’ in the bar – The infamous planned sword fight duel – Imam the scholar forewarns Indy and Sallah not to touch or look at the Ark. Instead, this was not revealed until the climax. – While looking for a rope, Sallah spills water on a German officer. Because too much dust came from the background, the shot was spoiled. – A scene where a German student playing an officer threatens to execute Sallah. – Indy knocks out a local looking at him after coming out from the tomb – Indy clings to the periscope of the submarine all the way to the secret base by wrapping his whip around it and himself. It explains how he managed to survive in the sea all that time. However, prior to the advent of nuclear power, submarines were designed as surface ships that could go under water. They only submerged for defensive purposes. So, it is quite plausible that the German U-boat would have sailed on the surface of the water the entire time, enabling Indiana Jones to survive the trip without having to cling to the periscope.
- In a 2001 “making of” special, it was revealed that the effects used in the three antagonists’ rather gruesome deaths (Dietrich, Toht, and Belloq) were a vacuum machine, heat gun with time-lapse photography, and shotgun, respectively.
- Shooting in Tunisia proved to be so stressful and so hot that ‘Steven Spielberg’ managed to compress a six-week shoot into four-and-a-half weeks. This helped the production complete principal photography 12 days ahead of schedule.
- ‘Steve Martin’ had a choice of doing this film or Pennies from Heaven (1981). He chose Pennies from Heaven (1981)
- Voted number 20 in Channel 4’s (UK) “Greatest Family Films”
- The words that Belloq slowly recites before opening the ark are (badly pronounced) Aramaic, and are part of a paragraph recited in many Synagogues today when the Ark that holds the Sefer Torahs (the Old Testament handwritten on Parchment) is opened as part of the Sabbath service.
- ‘Tom Selleck’ was ‘Steven Spielberg’’s second choice for the role of Indiana Jones. ‘Harrison Ford’ was his first, but ‘George Lucas’ objected, since Ford had been in both American Graffiti (1973) and Star Wars (1977).
- In filming the Well of Souls sequence, the producers scoured every pet shop in London and the South of England for every snake they could lay their hands on. Hence there are snakes that are identifiable from many different geographical areas. However, once all the snakes were on set, it became clear that there were not nearly enough of them, so ‘Steven Spielberg’ had several hoses cut into lengths, and these were used as well. Looking closely, you can tell which are the real snakes and which are not.
- The spirit effects at the climax were achieved by shooting mannequins underwater in slow motion through a fuzzy lens to achieve an ethereal quality.
- In the map room, one of the buildings has red graffiti written on it that says, “Nicht stören”, which is German for “Do not disturb”.
- In the boulder scene ‘Harrison Ford’ stumbles a bit as the large rock barrels behind him. The filmmakers thought that made the scene look authentic so they didn’t edited it out.
- Indy’s line to Marion when they are on the ship – “It’s not the years, honey, it’s the mileage” – was ad-libbed by ‘Harrison Ford’.
- Voted #2 on Empire magazine’s 500 Greatest Movies Of All Time (September 2008).
- In his book “Kinski Uncut”, ‘Klaus Kinski’ writes that ‘Steven Spielberg’ offered him a part in this movie, but he turned it down. “[...] as much as I’d like to do a movie with Spielberg, the script is as moronically shitty as so many other flicks of this ilk.” Kinski was effectively offered the role of Toht, but he chose to appear in Venom (1981) because the salary was better.
- (At 1:18:38) At the beginning of the Nazi harbor scene, the loudspeaker announces “ein, ein, drei, acht” (one, one, three, eight), a reference to THX 1138 (1971), ‘George Lucas” first movie. This is a Lucas trademark in all his films.
- ‘Amy Irving’ and ‘Debra Winger’ were considered for the role of Marion.
- During filming in Tunisia, nearly everyone in the cast and crew got sick, except director ‘Steven Spielberg’. It is thought that he avoided illness by eating only the food he’d brought with him: cans and cans of Spaghetti-O’s.
- The final shot, with the camera panning out from the Ark in the government storage facility, is an homage to one of the final shots in Citizen Kane (1941).
- The original name of the lead character in the script was Indiana Smith. His name was changed to Jones on the first day of production.
- ‘Harrison Ford’ actually outran the boulder in the opening sequence. Because the scene was shot twice from five different angles, he had to outrun it ten times.
- ‘George Lucas’ made what was at the time an unusual deal for this film. The studio financed the film’s entire $20-million budget. In exchange, Lucas would own over 40% of the film and collect almost half of the profits after the studio grossed a certain amount. It turned out to be a very lucrative deal for Lucas. Paramount executive ‘Michael Eisner’ said that he felt the script for this film was the best he had ever read.
- ‘Harrison Ford’ was actually dragged behind the truck for some of the shots. When asked if he was worried, Ford quipped: “No. If it really was dangerous, they would have filmed more of the movie first.”
- In a deleted scene, where the character of Sallah is confronted by a Nazi soldier, ‘John Rhys-Davies’ who was suffering from cholera at the time was required to bend down. Unfortunately this prompted the very sick Rhys-Davies to soil himself.
- ‘Harrison Ford’ was cast less than three weeks before principal photography began.
- ‘Nick Nolte’, ‘Steve Martin’, ‘Chevy Chase’ and ‘Jack Nicholson’ all turned down the role of Indiana Jones.
- For the DVD release, over 970,000 frames were cleaned up by Lowry Digital Images, the same company that cleaned up Snow White and the Seven Dwarfs (1937), North by Northwest (1959) and Sunset Blvd. (1950) for DVD.
- Most of the body blows you hear were created by hitting a pile of leather jackets with a baseball bat.
- 1981’s biggest grossing film.
- ‘George Lucas’ first dreamed up the idea of an adventurous archaeologist about the same time he came up with the idea for the Flash Gordon-type space story which became Star Wars (1977).
- The out-of-control airplane actually ran over ‘Harrison Ford’’s knee, tearing his ligaments. Rather than submit to Tunisian health care, Ford had his knee wrapped in ice and carried on.
- CAMEO(‘Dennis Muren’): Appears as a Nazi spy who is tracking Indiana Jones on the airplane. Only his eyes can be seen, though, as most of his face is hidden behind the Life Magazine he’s reading.
- During the truck chase, ‘Harrison Ford’ dispatches all three of his stunt doubles. All of which are playing German Soldiers. ‘Terry Leonard’ plays the driver of the truck, who gets punched out of the cab by Harrison. ‘Vic Armstrong’ and ‘Martin Grace’ play soldiers hanging onto the side of the truck before being knocked off.
- WILHELM SCREAM: as one of the German soldiers falls out the back of the truck Indiana Jones is driving.
- Toht’s name is never mentioned in the film.
- The film used the full-sized submarine model from Das Boot (1981). The smaller model used to show the submarine’s approach to the Mediterranean base was the same model from ‘1941 (1979)’.
- All the stunt men were sick on the day that Indiana Jones hits the pilot of the Flying Wing over the head, knocking him out, so producer ‘Frank Marshall’ agreed to do it. Unfortunately for him, the shot took three days and a lot of it involved him sitting in a cockpit that was in excess of 100 degrees.
- Indiana Jones’ kangaroo-hide bullwhip was sold in December, 1999 at Christie’s auction house in London for $43,000.
- ‘Michael Sheard’ auditioned for the role of Toht. ‘Ronald Lacey’ won the coveted role and Sheard was later cast in a minor, uncredited role as the U-Boat Captain. He also appeared as ‘Adolf Hitler’ in Indiana Jones and the Last Crusade (1989).
- SPOILER: The well-known line “Indy, they’re digging in the wrong place!” is in fact a misquote. The true line is simply “They’re digging in the wrong place,” and is spoken by both Sallah (‘John Rhys-Davies’) and Indiana (‘Harrison Ford’).
- Indiana Jones’s hat came from the famous Herbert Johnson hat shop in Saville Row, London. The hat was the shop’s Australian model. On the Bonus Features DVD, costume designer ‘Deborah Nadoolman’ said that in order to properly age the hat, she grabbed and twisted the hat, then she and ‘Harrison Ford’ both sat on it, and it eventually looked like “a very lived-in and well-loved” hat.
- ‘Tim Matheson’ was also considered for the lead role.
- ‘Alfred Molina’’s screen debut. His first scene on his first day of filming involved being covered with tarantulas.
- The scene where Jones fires at the truck was a botched stunt. The truck was supposed to flip over by means of a telegraph pole being fired by explosives through the floor. The explosive wasn’t powerful enough and it simply forced the truck to tip over at an angle as can be seen in the finished movie. Time did not permit any further attempts at getting it right.
- The monkey raising his paw and saying (in his own language) “Heil Hitler” was thought up by ‘George Lucas’ and is one of ‘Steven Spielberg’’s two favorite scenes (in the interview included in the video box set, he says his other favorite is the “where doesn’t it hurt” love scene on the ship).
- Director ‘Steven Spielberg’ was quoted as saying: “I made it as a B-movie… I didn’t see the film as anything more than a better made version of the Republic serials.”
- The instructions for the construction of the Ark are found in Exodus 25:10. The clothing that Belloq wears while acting as a High Priest during the ceremony at the end is found beginning in Exodus chapter 28.
- At the end of the film, when Indy and Marion are tied to the pole as the Nazi’s and Belloq open the Ark, the dome-topped head of R2-D2 is resting on the top of the pole that they are tied to.
- Although ‘Tom Selleck’ had to give up the role of Indiana Jones to film “Magnum, P.I.” (1980), the series didn’t go into production until filming had already wrapped. Selleck was in fact in Hawaii waiting for the series to start as the final scenes to be filmed (the opening sequence) were being shot in Hawaii.
- The truck used in the movie was specially constructed to be higher above the ground than normal so as to allow clearance for Indiana Jones to pass underneath safely. The center of the road was also dug out to allow more clearance.
- The giant boulder that chases Indiana in the temple is very similar to the boulder the explorers in Journey to the Center of the Earth (1959) encounter not too long after they begin their descent into the earth’s interior.
- ‘Tom Selleck’ was originally cast as Indiana Jones, but was not able to take the role because he was committed to “Magnum, P.I.” (1980). “Magnum” did an episode that parodied “Raiders”, complete with hat, whip, booby traps, etc.
- Indiana Jones’ name comes from the name of ‘George Lucas” dog and is a play on ‘Steve McQueen’’s eponymous character name in Nevada Smith (1966). Indiana the dog, who was a Malamute, also served as the inspiration for Chewbacca in Star Wars (1977). In the end of Indiana Jones and the Last Crusade (1989), it is revealed by Indiana’s father that Indiana is really named Henry Jr., but went by the name of his dog, Indiana.
- In the “Making Of” Featurette, ‘Steven Spielberg’ said that he casted ‘Paul Freeman’ in the role of Belloq because he thought Freeman had “striking eyes”. Also at one point, Spielberg was concerned if Freeman could act with a French accent. Spielberg then contacted Freeman (who was on vacation at the time) and asked if he could come back to London to meet with him and act out some lines in a French accent for him.
- Indy’s whip is 10 feet long, although some shorter versions were used, depending on the shot required.
- Production designer ‘Norman Reynolds’ had found a rusty looking ship that was perfect for the Bantu Wind. However, when the time came for this sequence to be filmed he was horrified to discover that the ship had been repainted and now looked pristine. It had to be swiftly repainted to achieve its distressed look.
- An early draft of the script had Indy traveling to Shanghai to recover a piece of the Staff of Ra. During his escape from the museum where it was housed, he sheltered from machine gun fire behind a giant rolling gong. Also in the same script, Indy and Marion flee the chaos caused by the opening of the Ark in a wild mine-cart chase sequence. Both of these scenes were cut from the script, but ended up in Indiana Jones and the Temple of Doom (1984).
- The last line to be added to the script was Dietrich’s “I am uncomfortable with this Jewish ritual” because after reading through the script, the screenwriters realized that there was no mention of Jews or the Nazis’ hatred of them.
- ‘Harrison Ford’ badly bruised his ribs during the scene where he is dragged behind the truck.
- ‘Steven Spielberg’ originally wanted ‘Danny DeVito’ to play Sallah and DeVito was set for the role, but he had to drop out due to conflicts with “Taxi” (1978).
- When Indy is dragged under and then out behind a moving truck, it’s a tribute to ‘Yakima Canutt’’s similar famous stunt in ‘John Ford’’s Stagecoach (1939). In fact, it was a stunt that stuntman ‘Terry Leonard’ had tried to pull off the year before, and failed to do so, on The Legend of the Lone Ranger (1981). He was thrilled at the chance of having another shot at it.
- Toht, the sadistic Nazi interrogator, only speaks a total of fourteen lines in English. The rest of his dialogue is in German.
- All of the German vehicles in the desert chase sequence are replicas of actual pre-WWII German vehicles. The Mercedes-Benz 320 staff car is actually a Jaguar MK9 with a modified MK5 body; two were built for the movie by Classic Cars of Coventry. The cargo truck is a Mercedes-Benz LG3000 replica built on a GMC CCKW. Gobler’s troop car is a replica of a Mercedes-Benz G5 ‘Gelaendewagen.’
- ‘Philip Kaufman’ shares story credit with ‘George Lucas’ because they originally dreamed up the film together in the 1970’s. Reportedly, it was Kaufman’s idea to pursue the Lost Ark of the Covenant. Originally, Kaufman was going to direct.
- Apart from “The Prize of Pizarro”, the greatest influence on the initial sequence of the film came from another ‘Carl Barks’ story of Uncle Scrooge: “The Seven Cities of Cibola”, where there is a native American lost city and a valuable idol that triggers a giant round rock that smashes everything on its way.
- DIRTRADE(‘Steven Spielberg’):[stars]
- The truck used in the chase scene from the excavation is actually a WWII 2 1/2 ton GMC CCKW-353, with the hood and cab converted to approximate a pre-war Mercedes truck.
- The opening scene in the lost South American temple is partly based on a classic Disney Ducks adventure helmed by the legendary artist ‘Carl Barks’, many of whose comic books have inspired ‘George Lucas’ and ‘Steven Spielberg’. Exploring a lost temple, Donald Duck, his nephews, and Scrooge McDuck must evade a succession of booby traps, like flying darts, a decapitating blade, a huge boulder, a tunnel flooded with a torrent of gushing water, etc., in the story “The Prize of Pizarro” (“Uncle $crooge” no. 26, June-August 1959), which hit the newsstands when Lucas and Spielberg were respectively 15 and 12 years old. Both men are avowed fans of the Barks comic books.
- According to the director, when the movie was originally submitted for an MPAA rating, it was given a rating of “R” because of the sight of an exploding head. In order to lower the rating, flames were superimposed over this image. The result was the appearance of a head exploding behind a dense curtain of flames. The rating was lowered to “PG” (at the time, the PG-13 rating did not exist).
- The jacket and hat that ‘Harrison Ford’ wore throughout the series are on display at the Smithsonian.
- CAMEO(‘Glenn Randall Jr.’): the stunt coordinator appears as the mechanic with the monkey wrench at the flying wing.
- Renowned British wrestler ‘Pat Roach’ gets killed twice in this film – once as a giant Sherpa left in the burning Nepalese bar and once as the German mechanic chewed up by the plane’s propeller.
- CAMEO(‘Frank Marshall’): Pilot of the Flying Wing.
- Some of the weeds in the Well of Souls were lifted by ‘Lawrence Kasdan’ from the Dagobah set for Star Wars: Episode V – The Empire Strikes Back (1980).
- A scene where Sallah threatens a German soldier to shoot him was shot but left out in all prints.
- Instead of the standard Blue Mountain opening logo used between 1975-87, the opening logo was a version of the Paramount logo used in the 1940s or 1950s which read: “A Paramount Picture”. The only difference is that it also read “A Gulf+Western Company”. This logo was also used in the sequels instead of the Blue Mountain logo or the CGI Majestic Mountain (in the case of Indiana Jones and the Last Crusade (1989).
- Exterior footage of the DC3 airplane carrying Indiana Jones and Marion Ravenwood across Asia is taken from the remake of Lost Horizon (1973).
- In the Raiders oral history published in Empire magazine, Frank Marshall said that they got the monkey to do the Nazi salute by putting a grape on a fishing pole and getting the monkey to reach for the grape, which was dangling just out of camera range. This took about 50 takes before it actually looked like a Nazi salute.
- ‘Ronald Lacey’ had given up acting and had become an agent when he was cast in the role of Toht.
- ‘Ishaq Bux’ is crediting in the end titles as playing Omar but it is impossible to spot him in the film.
- ‘Steven Spielberg’ wanted ‘Danny DeVito’ to play Sallah in the film, but DeVito couldn’t do it. Later, DeVito stars as a second banana to ‘Michael Douglas’ in the Raiders tribute/derivative, Romancing the Stone (1984).
- ‘Ronald Lacey’ was chosen for the part of Toht because he reminded ‘Steven Spielberg’ of ‘Peter Lorre’.
- To create the sound of the heavy lid of the Ark being slid open, sound designer ‘Ben Burtt’ simply recorded him moving the lid of his toilet cistern at home.
- DIRTRADE(‘Steven Spielberg’):[music]
- During the scene where Indiana threatens Nazis with bazooka, you can clearly see a fly creeping into the mouth of ‘Paul Freeman’, and he swallows it. Empire Magazine chose this scene as one of the most common scenes people press “Pause” button on their VCR for.
- In order to make it match the follow-up movies in the DVD collections, 2008 DVD cover artwork changes the film’s logo to read “Indiana Jones and the Raiders of the Lost Ark” instead of just “Raiders of the Lost Ark”
- The advance trailer for this film played up ‘Steven Spielberg’’s earlier films with the exception of his previous film, 1941 (1979), which was considered a failure at that time.
- ‘Sean Young’ was used as Marion in the screen test for all who auditioned for the lead role of Indy. ‘Tim Matheson’ and ‘John Shea’ were used for ‘Karen Allen’’s screen test. Young would later star opposite Ford in Blade Runner (1982).
- The musical theme for the Ark of the Covenant is heard several times throughout the film. Each time, it either trails off, segues into a different theme, or modulates into a different key. Only at the climax of the film is the entire theme heard and resolved in its original key.
- According to Graham Hancock’s book “The Sign and the Seal”, the Lost Ark of the Covenant actually resides in a guarded cave in Ethiopia.
- The infamous scene in which Indy shoots a marauding and flamboyant swordsman was not in the original script. ‘Harrison Ford’ was supposed to use his whip to get the swords out of his attacker’s hands, but the food poisoning he and the rest of the crew had gotten made him too sick to perform the stunt. After several unsuccessful tries, Ford suggested “shooting the sucker.” ‘Steven Spielberg’ immediately took up the idea and the scene was successfully filmed.
- One of the U.S. government agents says that Hitler is “a nut” on archeology. In fact, he considered searches for artifacts to be a waste of time.
- (At 15:25) When Indy speaks to the government men in the lecture hall, the chalkboard behind them tilts back, then forward, then back.
- During the truck chase scene: After the German soldier shoots Indiana in the arm, he punches him several times, Indy’s blood appears and then disappears from the German soldier’s knuckles.
- The water on the driver’s-side window during the truck chase scene comes and goes between shots.
- Before the airplane fight, Gobler addresses Dietrich in German as “Herr Major”, indicating Dietrich’s rank equivalent to Major. After the airplane fight, his voice has changed (see above unsynchronized goof), and he changes Dietrich’s rank to “Oberst” (equivalent to Colonel).
- Although the revealing “glass screen” mistake (when Indy faces the cobra) was removed, the mistake was not corrected when Marion later faces the cobra. After she falls in, you can still see the cobra’s reflection on the glass that separates it from her.
- There are many flaws with the U-boat sequence. The class of boat is wrong – U-26 was a Type IA, but that shown is a Type VIIC (this is because the film reused the replica of U-96 from ‘Das Boot’). Neither the Type IA nor VIIC – nor any of the principal classes – would have been capable of carrying the Ark, due to limited storage space and access hatches that were too small. The Captain clearly orders the U-boat to dive (“Tauchen”); however, a lack of a constant air supply, much reduced speed and limited capacity for the electric motor batteries meant that U-boats only submerged for defence, attack or in heavy weather – none of these apply here. Nor did U-boats sound a ‘diving’ klaxon. A cut scene would have shown Indy hiding aboard the boat by clinging to the periscope. However, as explained the boat would not in reality have dived, and even when it did it would not have run at a sufficiently shallow ‘periscope depth’ the whole time. On the surface, at least four men would have been on watch at all times. Thus, however Indy tried to smuggle himself aboard the boat, he would have either been spotted or drowned.
- During the scene where Indy shoots the large swordsman, he arrives with his right shoulder facing the swordsman, but immediately in the next shot, his left side is facing the swordsman.
- Satipo has visibly crooked teeth when he smiles as Indy retrieves the golden idol. But when Indy finds Satipo dead, Satipo has perfectly straight teeth.
- The staff is supposed to be 60 inches tall (6 kadams = 72 inches, minus 1 kadam). The pole that Indy inserts into the hole in the map room towers over his head, indicating (incorrectly) that Indy is less than five feet tall. The laserdisc edition disproves any claim that he’s standing on a lower step.
- The students in Indy’s lecture hall change positions in various shots. The student with the apple, seen coming down the far aisle when the lecture ends, is clearly sitting in the middle of the front row earlier in the scene. The girl who has written on her eyelids is in the middle of the room when Indy first sees her but in the row by the windows later.
- Following being chased by the natives through the jungle outside the temple, when Indy escapes on the airplane, it is clearly the middle of the day. Just one frame later, the time of day has become sunset.
- When Indy is at home packing his suitcase, he is wearing a robe with a dark red collar and cuffs with some sort of stitched pattern. In the shot from above his shoulder where he pulls the gun out of the cloth, the collar and cuffs of the robe are quite different. They are a brighter red and they seem to be smooth with no stitched pattern. In the following shot where he throws the gun, he is back in the original robe.
- It is never really explained in the movie why a sizable chunk of the German army and airforce is in Egypt at this time. Egypt in 1936 was of course a British protectorate (because of the strategically vital Suez Canal) and the presence of a foreign armed power, especially a German one, would have caused a terrible row – even an armed conflict.
- The alleyways in Cairo are lined with TV antenna cables, though the filming crew correctly removed all the TV antennas from the building roofs.
- When the slab is being put back on the well of souls sealing Indy and Marion in the well, you can see the wood grain of the plywood that makes the “stone” slab.
- At the very end, an old man carts the Ark down the warehouse alone to store the artifact that would take at least two men to unload from the wagon and set on the floor.
- The exploding truck has a pole launched out of the bottom of it to make it flip over.
- When Indy is climbing on the pontoon of the sea plane, his clothes appear completely dry, though he was just in the water and in the scene before the clothes appeared completely wet.
- In the gunfight near the end of the movie, Indy’s gun is alternately a revolver and a semi-auto pistol between shots. While it’s possible Indy could be carrying two guns, it’s not likely he’d switch between them in the heat of battle.
- Although filmmakers supposedly removed all antennae from the buildings in the Cairo scenes, one is visible (although out of focus) over Indy’s left shoulder as he has his first conversation with Sallah.
- The map sequence to the Island that the U-boat is traveling to shows that it is part of Greece, however the Germans did not invade Greece until 1941. The movie takes place five years before that.
- When the German officer tells Gobler that he wants “plenty of protection” for the Ark, we hear Gobler answer “Jawohl, Herr Oberst!” but his lips don’t move.
- Egypt was British-controlled in 1936 and the Germans would not have been able to mount a large military operation there as shown.
- If the idol is made of pure gold, and the bag (which is to be a substitute) contains sand, it is way too light. Gold is about 10 times heavier than sand, thus the bag had to have 10 times more volume than the idol.
- During the opening sequence, several of the birds heard in the Peruvian jungle are not native to South America, most notably the Kookaburra.
- When Indy and the monkey are getting drunk after the truck carrying Marion has been blown up, a young man in a T-shirt and jeans walks past in the background on the left side of the screen (all the other people are wearing robes).
- During the basket sequence, the sweat marks on Indy’s back shrink and grow from shot to shot.
- Map of Indy’s plane route includes Jordan, which before 1949 was known as Transjordan.
- Toht would need more than the imprint in his hand to replicate an approximate of the amulet. he would need to know the dimensions and properties of the crystal, including the cuttings on the surface, otherwise it would not refract and focus a beam of sunlight on exactly the right place (assuming he had the correct length of the staff).
- The plane that is circling on the ground is driven by a chain around its wheels.
- Indy drives the truck into Omar’s, driving through a traffic circle clear of debris. The German car wheels in; the vendors crowd in to distract the Nazis; and a watermelon is grabbed, thrown, and smashed into the ground on the passenger side of the car. When the car pulls away, however, the remnants of the watermelon are on the ground on the driver’s side of the car.
- When Marion is shooting at the German soldiers from the gunner’s seat in the German plane, the bullets clearly hit the ground at the soldiers’ feet, yet they react as if they have sustained hits above the waist.
- When Indy is at home, preparing to leave to search for the Ark, he unrolls a handgun from a cloth. The handgun is poised to fall into one hand but the next second it’s in the other.
- Glass wall between Indy and the cobra. This has been erased in the 2003 DVD edition.
- When Indy speaks to the government men in the lecture hall, he places his large book on the table. One of the two straps holding it closed is undone. When he takes the book to show them a picture of the Ark, both straps are again closed.
- Amount of hair in Marion’s gag in the tent.
- During the classroom scene, the globe on the desk is centered on the Europe and Africa regions of the Earth regardless from which angle it is viewed from.
- Indy is traveling to Asia on board a Short Solent 3 flying boat, introduced in the mid 1940’s. This aircraft was once owned by Howard Hughes and is now in the Oakland Aviation Museum (CA)
- When Indy is thrown into the Well of Souls he lands amongst hundreds of snakes – his worst fear realized. As he lays on the ground, he lifts his head to come face to face with an angry, displaying cobra. If you look closely, you can see the reflections in the pane of glass used to separate actor Harrison Ford from the ready to strike creature.
- When the slab is removed from the roof of the Well of Souls, we can see that it fits into a network of supports. When the ceiling is shown from below we should see a cross pattern of supports as well as the slabs, however we only see the slabs. There is no interior support for the slabs.
- SPOILER: Obvious rubber dummy of Belloq when he explodes after opening the Ark. Note especially the fingers of his left hand, as he explodes.
- After trapping Indy in the Well of Souls, Belloq’s hat jumps from his hand to the ground.
- Marion’s confrontation with the “bad guy” brandishing a knife in the market place. The knife stays in the same hand but curves up and down in alternating shots.
- There is a globe on the desk in the classroom. The globe depicts various countries of Africa that didn’t exist in 1936.
- When Belloq begins to raise the gold idol in a long shot, the idol has several cobwebs stuck to it. In the next shot, a close-up, the cobwebs are gone.
- During the truck chase, the heads of the approaching German soldiers are level with the top of the truck. Just as Indy looks into his side mirror, they crouch down, so their position in the mirrors is correct.
- When Indiana Jones falls from the truck (which is traveling forward at 40 mph) he rolls backward – in violation of physics. When you jump from a moving vehicle you actually roll in the direction the vehicle was moving.
- During the “Desert Chase” when the chase moves out into the open desert, a shot of the front of the vehicles shows the reflection of trees in the windshield.
- In the car chase scene, when Indiana pushes a car off the road into the trees, the driver curses in German. However, his mouth forms the English form of the word.
- When Indy attempts to commandeer the Ark at the mountain pass on the Island, before and after, the scenes switch between midday sun and overcast between shots.
- When Indiana Jones enters the Map Room, he first throws the staff in, and then climbs down the rope. In the next scene, the staff is leaning against the wall when he takes it back, which is virtually impossible.
- SPOILER: When Toht’s face is melting when the Ark is opened, his glasses fall to his collar too quickly. This is due to the shot being filmed via a time-lapse technique (see Trivia entry).
- As the entrance to the Well of Souls is being sealed, you can see Marion’s lips count down before she screams.
- In the scene in Marion’s bar, when Indiana ducks behind a corner, the type of pistol he is shooting changes with every cut.
- When Indiana and Marion are in the cabin on the cargo ship they are each on one side of a double-sided mirror. Indy is inspecting his many wounds on his side, but Marion’s side is all fogged up. She then tries to wipe the mirror clean and not being able to, she flips the mirror over banging Indiana on the chin causing him to yell. In the next scene, Indiana is inspecting his chin in the mirror, but it is not fogged up when it should have been.
- When Indy is sliding underneath the truck, the trench that was made to prevent the stunt actor from striking the vehicle can be seen.
- The Flying Wing in the fighting scene in Egypt, is a Horten Ho 229 (a.k.a. Ho IX V2), a German fighter/bomber aeroplane built in late 1944-early 1945.
- When Indy is imprisoned in the underground ruins there is far too much light in the room. The only source of light was Indy’s torch, which could not have emitted nearly enough light to fill the entire room. Furthermore, the room remains well-lit even after the torch goes out.
- Captain Katanga’s hat bears the insignia of the navy of the Yugoslav People’s Army, which existed from 1945 until 1991. The emblem with red star is quite visible.
- As the Ark is being packed away as a government top secret, it is shown to have an iron bar and padlock on the outside of the crate. When the crate is being pushed to its storage area, no bars or locks can be seen.
- In the scene in the restaurant in Egypt when Indiana Jones runs into Belloq, Belloq refers to a watch as “worthless, ten dollars from a local vendor.” However one dollar in 1936 had the spending power of 15.30 2008 dollars. This would put the value of the watch at $130. While this does not make the watch of equal value as a historical artifact, it is not worthless.
- Position of medallion’s chain when Marion pulls it out of her blouse.
- During the travel to Nepal, “Thailand” is written on the map. The country has had this name only since 1939. This film takes place in 1936, when Thailand was called Siam.
- The Afrika Korps didn’t exist until 1941.
- When Indy and Marion leave the Well of the Souls, a person is clearly seen lying next to where they exited. He’s lying very still – looks like a corpse (another rival of Indy’s?) – but he’s missing a few moments later during a medium shot that show the same exit (the wheels of the “Flying Wing” are in the foreground).
- Marcus Brody says, “The Bible speaks of the Ark leveling mountains and laying waste to entire regions.” In fact, the Bible makes no such claims about the Ark.
- (At 97:00) Indy is already below decks aboard the u-boat. As the ship’s crew looks for him, he is spotted climbing aboard the exterior of the u-boat.
- Marion is seen lighting a cigarette with what appears to be a butane, flint-ignition lighter (as she is talking to Toht at her bar in Nepal) – while the butane lighter was invented during the 1930s, it did not become a household item until the latter half of the 20th century and it would have been unlikely to find one in Nepal in 1936, let alone in the hands of a presumably penniless bar owner.
- (At 32:40) In Marion’s bar, Toht palms the medallion from the fire with the pyramid towards his knuckles. This is upside down to the correct positioning when saying “Heil Hitler” in the desert (at 57:32).
- As Indiana climbs the slope below the entrance to the temple in the beginning of the movie, a safety line is clearly visible and the vegetation hanging down follows the line up as he climbs.
- Rocket Launcher that Indy uses to threaten the Ark is a Soviet RPG which came into service during the 1960s. Even the precursor of the German Panzerfaust was only developed in 1942, during Germany’s invasion of Russia.
- Indy and Marion board the ship bound for England during the night, but right after we shift to a shot of them in their quarters, daylight is coming in through the shutters.
- Sallah tels Indy that the snakes in the pit are asps. The snake which Indy confronts when thrown in the pit is clearly an Indian Cobra, as shown by the markings, however in other scenes, it is evident that at least some of the snakes are asps, meaning there was more than one breed of snake.
- When the Flying Wing begins to turn in a circle, Marion shoots the Germans arriving by truck. Then the Flying Wing clips off the top of one of the gas truck’s tanks spilling gasoline toward the aforementioned, eliminated Germans. We then cut to Indy struggling with the muscle-bound German, and then to Marion shooting at some other gas tanks causing them to explode. In the wide shot that immediately follows, the gas truck’s tank has not yet been clipped by the Flying Wing.
- During the fight in the marketplace, one Egyptian accidentally stabs another near a vendor’s stall, and fruit is seen on the end of the sword after it runs through the Egyptian’s back. You can see when the sword is withdrawn, that the fruit is actually held up by a stick which is dropped in the background.
- Near the beginning, the plane shown flying toward the Golden Gate Bridge is actually traveling eastward, inland away from the ocean. This is apparent because the Fort Point Arch at the south end of the bridge is visible on the right of the frame.
- When Indy is holding onto the front of the truck with the wheel between his legs after being thrown out of the window, a shot of his back reveals the small wooden seat he is sitting on.
- The famous scene where Indiana Jones is sliding under the truck, there is no way possible for his whip to hold him in the manner that it did. It makes a clanking noise like it had something metal on it, when in reality it is just a bull whip and nothing more.
- When Toht grabs the red-hot medallion, its positioning in his hand would burn his palm and part of his fingers. Later in the movie, the burns on his hand are squarely in the center of his palm.
- During the standoff in the desert gully, while Belloc is speaking a fly lands on his chin and crawls into his mouth – and doesn’t come out.
- When Indy and Marion travel from Nepal to Egypt, super-imposed over the map showing their route, is a Douglas DC-3. The DC-3 first flew on 17 December, 1935. The first aircraft of this type were delivered to American Airline during 1936. KLM Royal Dutch Airline also received their first DC-3 in that year, and from August 1937 used it on their Amsterdam-Batavia (now Jakarta)-Sydney route, replacing earlier Fokker aircraft. The majority of all the 300 to 400 DC-3 airframes built before World War II were in fact flying for American, Eastern, United, and TWA airlines within the U.S., and it would have been very unlikely to find one flying between Nepal and Egypt in late 1936.
- In the opening sequence, when Indy is being chased by the large boulder, you can see the pole that is turning/guiding it.
- When Indy first enters the Wells of Souls, the position of the rope Sallah is holding is at the lower part of hole but as he descends into the Well, it is positioned from the top.
- In the scene on Mr. Katanga’s ship, Indy points to his forehead, identifying it to Marion as a part of his body without pain and therefore kissable. Marion reaches for his hat with her left hand. After the cut, she is removing his hat with her right hand.
- (At 20:50) When we see Indy’s house, his fireplace is unnaturally lit from the flue, downward.
- The Golden Gate Bridge was not opened until 1937, but the main structure was finished in November 1936. Evidently the movie takes place later in 1936 than that. This is confirmed by the fact that in the same scene with the bridge, the Nazi spy is reading Life magazine, whose first issue was dated November 23, 1936; see also above.
- The Erma/Volmer machine pistol – the submachine gun used in several places in the film – is the MP-40 (Machine Pistol, model of 1940); the handguns used by the Germans are the P-38 (Pistol, model of 1938), neither of which was in use in 1936.
- While tradition has it that only ritually pure members of Jewish priestly families were able to even touch the Ark, let alone carry it, nobody is seen touching it directly (except when it’s opened); it’s either carried on poles while covered with cloth or inside a packing crate.
- During the encounter with the massive, sword-wielding Arab in the market, Indy’s shirt is untucked/tucked between shots and his holster disappears/reappears.
- Map showing the path of Indy’s flight includes Thailand, which was called Siam at the time.
- While discussing the history of the Ark, Indy refers to Mount Horeb but pronounces it “Herob.”
- Blood on the truck windshield when Indy is shot in the shoulder.
- In the “basket” scene, Indy shoots someone coming towards him holding on to the outside of a truck. However, blood is visible on his white clothes (possibly from a previous take) before he is shot.
- As the Ark is being crated away as a government top secret, the stenciled words are painted over boards that run vertically. The next shot shows that the words were stenciled over boards that run horizontally.
- When Marion hides in the wicker basket, the top of the basket is on slightly crooked. In the very next frame it’s totally straight.
- During the scene which Indy’s ship is boarded by the crew of the German U-boat, the U-boat’s conning tower reads “26″. U-26 would have been a type IA submarine. The hull is incorrect for a submarine of this class. The hull is actually the Type VIIC model from Das Boot; however the Type VIIC came into service just during the Second World War.
- When Indiana is in the map room he takes out his journal when looking at the symbols on the ground. When he takes the journal out there is a pencil in the binding, but when he closes it, the pencil is gone.
- When the bald headed German mechanic who beats Indy up in the airfield is killed by the propellers, his blood splatters the Flying Wing’s rudder. The blood is not visible when Indy rescues Marion and the plane explodes.
- Luggage rack detaches itself from the truck when Indy collides with the water trough, but it’s fixed in subsequent shots.
- When Indy pushes a stone block out of a wall to escape from the crypt, it bounces as it hits the ground.
- During the truck chase, you can see a camera on the windshield inside of the convertible.
- The spiders on Indy’s back appear and disappear.
- “A British Tar” (1878) (uncredited) From “H.M.S. Pinafore” Music by ‘Arthur Sullivan’ Lyrics by ‘William S. Gilbert’ Sung a cappella by ‘John Rhys-Davies’
Director: Steven Spielberg
Length: 116 min
Gross: $588,929,061 (Worldwide)
IMDb: 6.60 (83334 votes)
Tom Cruise (Ray Ferrier), Dakota Fanning (Rachel Ferrier), Justin Chatwin (Robbie Ferrier), Miranda Otto (Mary Ann), Tim Robbins (Harlan Ogilvy), Rick Gonzalez (Vincent), Yul Vazquez (Julio), Lenny Venito (Manny the Mechanic), Lisa Ann Walter (Bartender (Sheryl)), Ann Robinson (Grandmother), Gene Barry (Grandfather), David Alan Basche (Tim), Roz Abrams (Herself), Michael Brownlee (TV Reporter, Osaka), Camillia Sanes (News Producer)
Ray Ferrier is a dock worker who is finishing a night of work in the morning, because he works the night shift. But when he gets home his young daughter Rachel and teenage son Robbie are staying with him at his house in Bayonne, New Jersey, while his pregnant ex-wife Mary Anne and her new husband Tim visit her parents in Boston for the weekend. But then the unthinkable and, ultimately, the unexpected happens to him in an extraordinary sense! Witnessing, and barely escaping the horror, first-hand, it’s up to Ray to protect his two kids from terrorist and races up to Boston before one of them gets murdered by a large tripod machine in its path!
- Ray Ferrier: Can you think of a plan that *doesn’t* involve your 10-year-old sister joining the army?
- Ray Ferrier: I am *not* going to let my daughter die because of you.
- Ray Ferrier: There’s nothing living in that direction!
- Rachel Ferrier: Where’s Mom?
Ray Ferrier: In Boston.
Rachel Ferrier: Where’s Mom? I want Mom.
Ray Ferrier: I know.
Rachel Ferrier: [shouts] I want Mom! I want Mom! I want Mommmm!
Ray Ferrier: [shouts] That’s what I’m trying to do!
- Ray Ferrier: Don’t you get it? We’re under attack!
- [repeated line]
Ogilvy: Not my blood!
- Rachel Ferrier: Are we gonna be okay? Is Robbie Okay?
Ray Ferrier: I don’t know.
Rachel Ferrier: What do you mean you don’t know? Are you okay?
- Ray Ferrier: Where is Robbie?
Rachel Ferrier: He went out.
Ray Ferrier: Out where?
Rachel Ferrier: I don’t know. He just took your car, and left.
- Ray Ferrier: Wasn’t that cool?
Rachel Ferrier: It’s right behind our house!
- Rachel Ferrier: Is it the terrorists?
- Mary Ann: Take care of our kids.
- Rachel Ferrier: Am I okay?
[Ray stares wide-eyed at the window, terrified beyond speech]
Rachel Ferrier: Are *you* okay?
- Ray Ferrier: I was right in the middle of one of those!
News Producer: You didn’t see this from this angle.
- Rachel Ferrier: I want to sleep in my own bed. I got back problems.
- News Producer: [at the site of a plane crash] Were you on that plane?
Ray Ferrier: No.
News Producer: Too bad. It would have made a hell of a story. [shuts news van door and drives off]
- Ray Ferrier: That is so weird. The wind is blowing *toward* the storm.
- Marine Corps Captain: Our mission, Lieutenant, is to delay their advance ’til those refugees get to safety. Now, keep firing!
- Ray Ferrier: [takes a bite of food] What is that?
Rachel Ferrier: Hummus.
Ray Ferrier: Hummus
Rachel Ferrier: Yeah, from the Health food place, I kept a menu last time we were here.
Ray Ferrier: [just stares at her with anger]
Rachel Ferrier: …Well you said order.
Ray Ferrier: …I meant order *food*.
- [Robbie is trying to hitch a ride with passing soldiers]
Ray Ferrier: Robbie, you want to go in that direction? There is nothing *living* in that direction!
Robbie Ferrier: What do you care? You never gave a shit before! You never gave a shit!
Ray Ferrier: Okay, hard-ass. You’re in charge now? So what’s your plan?
Robbie Ferrier: We catch up with these soldiers, and we head back there, and we get back at them! We get back at them!
Ray Ferrier: Okay, now come up with a plan that doesn’t involve your 10-year-old sister joining the Army! You got anything like that?
Robbie Ferrier: Why don’t you tell the truth? You don’t know where to go! You only chose Boston because you hope Mom is there; You hope she is there, and then you can dump us on her! Then you will only have to care about yourself, which is exactly the way you like it!
- Ray Ferrier: Hey, Rachel, wanna see something cool? [she comes outside, lightning strikes]
Rachel Ferrier: I wanna go inside.
Ray Ferrier: It’s okay now.
Rachel Ferrier: I wanna go inside.
Ray Ferrier: All right, go ahead inside.
Rachel Ferrier: [she looks at him] I dont wanna go by myself.
- News Producer: It’s the same everywhere – once the tripods begin to move, no more news comes out of that area.
- Ray Ferrier: Ketchup. Mustard. Thousand Island Dressing. Vinaigrette. This is good, Robbie. I told you to pack *food*. What the hell is this?
Robbie Ferrier: That’s all that was in your kitchen.
- [last lines]
Narrator: From the moment the invaders arrived, breathed our air, ate and drank, they were doomed. They were undone, destroyed, after all of man’s weapons and devices had failed, by the tiniest creatures that God in his wisdom put upon this earth. By the toll of a billion deaths, man had earned his immunity, his right to survive among this planet’s infinite organisms. And that right is ours against all challenges. For neither do men live nor die in vain.
- Ray Ferrier: [watching the lightning storm behind his house] Where’s the thunder?
- Marine Corps Officer: Guidons, guidons, Black Six. Attack! Attack! Attack!
- Ray Ferrier: Lightning never strikes in the same place twice.
- Ray Ferrier: We’re leaving this house in 60 seconds.
- Rachel Ferrier: A gentle breeze from hushabye mountain / Softly blows o’er lullaby bay / It fills the sails of boats that are waiting / Waiting to sail your worries away
Rachel Ferrier: It isn’t far to hushabye mountain / And your boat waits down by the key / The winds of night so softly are sighing / Soon they will fly your troubles to sea
Rachel Ferrier: So close your eyes on hushabye mountain / Wave goodbye to cares of the day / And watch your boat from Hushabye Mountain / Sail far away from lullaby bay
- Rachel Ferrier: Whose car is this? Whose car is this?
- Rachel Ferrier: [crying, and softly hitting him] Robbie! What are you trying to do? Where are you trying to go! Who’s going to take care of me if you leave!
- Ray Ferrier: Enough of the “Ray” shit, all right? It’s Dad. Sir. Or if you want, Mr. Ferrier… That sounds a little weird to me, but you decide.
Rachel Ferrier: *Dad*
Ray Ferrier: Yes, Rachel.
Rachel Ferrier: I gotta go to the bathroom.
- Robbie Ferrier: This is your space. You own this.
- Robbie Ferrier: What is it? Is it terrorists?
Ray Ferrier: These came from some place else.
Robbie Ferrier: What do you mean, like, Europe?
Ray Ferrier: No, Robbie, not like Europe!
- [Talking about a splinter]
Rachel Ferrier: When it’s ready, my body will just push it out.
- Ogilvy: Rachel, I want you to know, that if anything happens to your daddy; I’ll take care of you.
- Ray Ferrier: This… This machine it just started… torching everyone… killing everything.
- Ray Ferrier: [playing catch with Robbie] Mom says you got a report due on Monday?
Robbie Ferrier: Yeah, I’ve already written it, I just gotta finish typing it.
Ray Ferrier: Yeah, bullshit.
Robbie Ferrier: Yeah? So what do you know, Ray?
Ray Ferrier: Everything. Between me and my brother, we know everything.
Rachel Ferrier: What is the capital of Australia?
Ray Ferrier: That’s one my brother knows.
Robbie Ferrier: I’m sure you’ve got a laugh out of the first hundred times you’ve told that one, Ray.
Ray Ferrier: Just do your report, we don’t send you to school so you can flunk out.
Robbie Ferrier: You don’t pay for it, Tim does.
Ray Ferrier: [hesitates furiously for a second, then throws the ball really hard at Robbie, Robbie catches it hardly] That’s half of what I got.
Robbie Ferrier: You’re an asshole.
[throws the ball hard at Ray]
Robbie Ferrier: I hate coming here.
Ray Ferrier: That why you act like such a dick?
[throws the ball super hard, but Robbie steps out of the way and allows the ball to crash through the window]
- Ray Ferrier: Look-there’s two things we’ve gotta watch out for, and the second is people that might want our car.
- Robbie Ferrier: Ray, I’m standing right next to you. Talk to me. What’s going on?
- Ray Ferrier: Where the hell did you go?
Robbie Ferrier: Over on Lincoln Avenue. By the church.
Ray Ferrier: You saw the lightning? Were you near it?
Robbie Ferrier: Yeah. 26 times we counted, over and over again. The lightning just started hitting. It opened up this, like, hole or something. I don’t know.
Ray Ferrier: 26 times?
Robbie Ferrier: Yeah.
Ray Ferrier: You’re okay?
Robbie Ferrier: Yeah.
Ray Ferrier: Good. All right, well, your sister is in the house. And I want you to go in that house and I want you to stay with her. And the next time you take my car with no driver’s license and no permission, I call the cops.
- Rachel Ferrier: If everything’s fine, why do we have to sleep in the basement? We got perfectly good beds.
Ray Ferrier: It’s like a slumber party.
Robbie Ferrier: What are you afraid’s gonna happen to us?
Ray Ferrier: Nice basement.
Rachel Ferrier: I wanna sleep in my bed, got back problems.
Ray Ferrier: Ok, well uh, you know on the weather channel, when there’s a tornado, and they, tell you to go down to the basement for safety? It’s like that.
Rachel Ferrier: There’s gonna be tornadoes?
Ray Ferrier: Rachel? No more talking. Ok?
Rachel Ferrier: Could you be a little nicer to me? God!
- Ogilvy: I’m dead set on living.
Ogilvy: [to himself] “Dead set on living”.
- Rachel Ferrier: Is it them? Is it them?
- [Rachel is running to the trees to use the "bathroom"]
Ray Ferrier: Stay where I can see you.
Rachel Ferrier: I don’t want you looking at me!
Ray Ferrier: I won’t, but stay in sight.
Rachel Ferrier: That’s looking!
- Ray Ferrier: [imitates Robbie] Okay Rach, this is your area. [motions with arms] Okay? You’re safe…
Rachel Ferrier: Dad, that’s not how it goes.
- Ray Ferrier: [as Robbie walks past him] There he is. Hey, Robbie. You got a hug? A confusing handshake? Kick in the teeth? The door’s locked.
- Robbie Ferrier: If we had any balls, why don’t we go back and find one of those things and kill it?
Ray Ferrier: Thank you, but maybe you should let me handle the big decisions.
Robbie Ferrier: When will that be, Ray? Never? Never is about your speed.
Ray Ferrier: Ok, enough of the “Ray” shit! It”s “Dad,” or “Sir!” Or if you like, “Mr. Ferrier.” I know it sounds a little weird to me but you decide.
- Ray Ferrier: [Ray is standing over the hole where the lightning struck in the street, and picks up a piece of rock]
Ray Ferrier: Agh!
Man on street: Is it hot?
Ray Ferrier: No, it’s freezing.
- Rachel Ferrier: Tim?
Robbie Ferrier: They’re gone.
Rachel Ferrier: Is she dead?
Ray Ferrier: She’s not dead. All right? She’s just not here, okay. They were never here.
Robbie Ferrier: How do you know?
Ray Ferrier: Because they’re on their way to Boston.
- Ogilvy: [to Ray] Who knows? Maybe you will survive… Maybe they’ll take you as a pet or something. Teach ya how to do tricks.
- Ray Ferrier: Two for you, two for Robbie, two for me… One for the house.
- [first lines]
Narrator: No one would have believed in the early years of the 21st century that our world was being watched by intelligences greater than our own; that as men busied themselves about their various concerns, *they* observed and studied, the way a man with a microscope might scrutinize the creatures that swarm and multiply in a drop of water. With infinite complacency, men went to and fro about the globe, confident of our empire over this world. Yet across the gulf of space, intellects vast and cool and unsympathetic regarded our planet with envious eyes and slowly, and surely, drew their plans against us.
- Ogilvy: They’ve been planning this for a million years. We’re beat to shit.
Ray Ferrier: Please. My daughter.
Ogilvy: Think about it. They defeated the greatest power in the world in a couple days. Walked right over us. And these were only the first. They’ll keep coming. This is not a war any more than there’s a war between men and maggots… This is an extermination.
- Ray Ferrier: Get in, Manny, or you’re gonna die!
- Rachel Ferrier: [in car as bridge is blown up behind her] Is it terrorists?
- Ray’s Boss: Do you know what your problem is?
Ray Ferrier: I could think of a couple of women that’d be happy to tell ya.
- Ray Ferrier: Look at the goddamned birds!
- Rachel Ferrier: Are we still alive?
- Robbie Ferrier: I have to see this, Dad. You have to let me go. I want to fight. Please! I have to see this. Just let me go!
- Rachel Ferrier: I’m allergic to peanut butter.
Ray Ferrier: Since when?
Rachel Ferrier: Birth.
- Rachel Ferrier: What are we supposed to do for food?
Ray Ferrier: You know – order.
- Ray Ferrier: It’s just like the 4th of July.
Rachel Ferrier: No, it’s not.
- Ogilvy: You and me. I don’t think we’re on the same page.
- Rachel Ferrier: Did the lightning stop?
- Ray Ferrier: [about Tripods] You mean there’s more than one?
News Producer: You’ve got to be kidding me, right?
- Ray Ferrier: You keep your eyes only on me, you understand? Don’t look down. Don’t look around me. I’m taking you to the car and you’re gonna want to look around but you’re not going to, are you?
- Ogilvy: Here?
Ogilvy: Peach Schnapps. Disgusting I know it, found a whole case of this shit.
- The tripod design for the alien machines is based on ‘H.G. Wells” original description from his book, including the heat rays at the ends of arms. The “red weed” is also from the novel, as is the alien “need” for humans.
- When the aliens are investigating the junk in the basement, one of them plays with a bicycle wheel. This is tied to the original book when the main character observes that, with all the advanced technology the aliens possess, they don’t use any wheels, and wonders if the alien life form had skipped the invention of the wheel.
- Shots that were seen in the trailer were not in the finished theatrical release. The most notable of these is named “camelot” for its ethereal lighting design where Robbie, Ray and Rachel encounter a roving battalion of tripods in a deserted Massachusetts neighborhood. They watch from behind a SUV as a tripod pulls people out of a building with its tentacles.
- When filming on a residential street in Howell, New Jersey, the actors took refuge in the garages of near-by homes for warmth.
- Wardrobe standards were so strict that soldiers during the Virginia filming were not allowed to wear their own civilian Underarmor ™ or GoreTex ™ warmth clothing under their uniforms – as real National Guardsmen so often do during maneuvers. This was despite filming on what turned into the coldest days of 2004 – and wearing light-weather BDUs (BattleDress Uniforms).
- Right before the Hudson Ferry scene, Ray and his children watch in horror as a locomotive speeds by on fire, and out of control. The train is part of the MTA Metro-North Railroad, which runs in New York, New Jersey, and Conneticut. It can be identified by the paint scheme on the side.
- Ogilvy’s yard was at a real farmhouse. Because the existing exterior cellar door was on the “wrong” side of the house (visually anyway), the crew built an old-looking fake cellar doorway on the opposite side – complete with edging of cast-cement replicas of the local building stone. It looked real and was used in the film, but it leads nowhere. The crew scooped out a foot of earth from under it so that Ray, Rachel, and Ogilvy (when fleeing “into the basement”) could appear to descend a little after their first few steps. Action then cuts to the basement interior – filmed on a studio soundstage.
- ‘Tom Cruise’ and ‘Tim Robbins’ worked together in Top Gun (1986), where Cruise played ‘Maverick’ and Robbins played ‘Merlin’. At the end of the film Robbins was Cruise’s co-pilot.
- While scenes were being shot at the riverbank on Connecticut River in Windsor, Connecticut, two life-sized mannequins being used as extras had gotten free and drifted into the river. The production’s water-safety crew performed a search but weren’t able to recover the mannequins. Police departments along the river were notified of the missing mannequins, according to Windsor police Lt. Shannon Haynes, who said, “We just wanted them to know that if they got any calls about bodies floating in the river.”
- DIRTRADE(‘Steven Spielberg’):[Music]: score by ‘John Williams’.
- There are very few panoramic images in this movie. Almost all shots, also during the tripod attacks, were filmed with the camera set at a person’s eye-sight. This manner of filming was influenced by the amateur footage of the terrorist attacks on New York City of 11 September 2001.
- One scene shows Ray running out of the house to find Robbie, while dozens of people are right outside his house photographing the lightning storm. To film the scene, producers hired people on the street to come to the street at the time of shooting with a camera and film so they could get pictures of ‘Tom Cruise’ for free.
- Real National Guard troops – mostly from Virginia – drove most Convoy Scene military vehicles. Extras, bit-players, and stunts-crew filled in the Hummer seats and troop trucks.
- Rachel has a poster of “The Saddle Club” (2001) in her room.
- While filming nearby, ‘Tom Cruise’, along with a 20-member entourage, including ‘Steven Spielberg’, visited a Lexington, Virginia, Dairy Queen. Cruise saw a jar on the counter with a photo of Ashley Flint and her story. Flint was in a go-cart accident a few months earlier, leaving her family with a mountain of hospital bills. Cruise put $5000 cash into the jar.
- The crew started filming only seven months prior to its release. In order to finish all 500+ CGI effects, ‘Steven Spielberg’ did all the big action scenes in the early stages of shooting.
- In the cellar, note the multi-colored lights just prior to the probe entering. This references the red, blue and green lights from the probe in the 1953 version of the film, The War of the Worlds (1953), though no part of the probe in this film emits any of those colors.
- When Ray (‘Tom Cruise’) first encounters the aliens, there is a street sign behind him displaying “Van Buren”. Van Buren was the surname of ‘Ann Robinson’’s character in the The War of the Worlds (1953). Also, President Martin Van Buren was a character portrayed by ‘Nigel Hawthorne’ in Steven Spielberg’s 1997 film Amistad (1997).
- When Rachel is flipping through channels at the beginning of the film, she passes the famous train wreck scene from The Greatest Show on Earth (1952).’Steven Spielberg’ was a kid, he saw this same scene, and recreated it with his mini train set. It inspired him to become a director.
- Initially estimated to have a 2007 release date, this film was abruptly green-lighted in mid-August 2004 for a 2005 release, when director ‘Steven Spielberg’ and star ‘Tom Cruise’ happened to become available when other projects stalled.
- According to an interview ‘George Lucas’ gave time.com (“A Conversation with George Lucas”, posted Tuesday, Mar. 14, 2006), War of the Worlds is the first movie where ‘Steven Spielberg’ turned away from traditional storyboarding and used a Pre-Vis system. He also stated that he had introduced Spielberg to Pre-Vis on Star Wars: Episode III – Revenge of the Sith (2005).
- The voiceover monologue from the first trailer for the film paraphrases and updates the first paragraph from ‘H.G. Wells’’s novel. For example, “19th century” is changed to “21st century”.
- Ogilvy’s farmhouse was on a still-active real farm. The tractor shed contained real farm machinery. The barn visible in some shots was taken over by the production: lighting rigging filled the hayloft while the ground floor served as extras’ holding. Background players not-needed in various scenes puttered about out-of-view in the barn’s cattle stalls while drinking cocoa and munching craft service nuts.
- During the filming of the underwater scenes (where the ferry capsizes) ‘Steven Spielberg’ played a prank on ‘Tom Cruise’ and ‘Dakota Fanning’ by playing the dramatic music from Jaws (1975) (also one of Spielberg’s films) through the massive underwater speakers on the sound stage.
- This is the first major motion picture to use real M1 Abrams tanks instead of other tanks dressed up to resemble them.
- ‘Steven Spielberg’ owns one of the last copies of the ‘Orson Welles’ radio script, which he purchased at an auction. The director wanted to make the film years ago, but decided against it when Independence Day (1996) was released. However, the director wanted to work with ‘Tom Cruise’ again after Minority Report (2002) and picked War of the Worlds (2005) as their next project.
- ‘Gene Barry’ and ‘Ann Robinson’ (from the 1953 original The War of the Worlds (1953)) play the Grandparents.
- The wide shot of the bridge exploding, followed by a tanker crashing into a group of houses as the minivan escapes, was conceived of, and shot, only one month prior to its footage premiering during the SuperBowl spot, effects ready and all.
- This is the third incarnation of The War of the Worlds story that ‘Ann Robinson’ has appeared in, having played Sylvia Van Buren in the original 1953 film The War of the Worlds (1953) and then reprising her role for three episodes in the TV series, “War of the Worlds” (1988).
- The race of invading aliens is never actually stated to be Martians. The word “alien” is never used in the whole movie either.
- “Fallujah” was the name that make-up technicians gave to their original new “combat grime” coloration applied to the soldiers. It was inspired by the cover photo of a news magazine showing a close up of a Coalition soldier in Iraq.
- A segment of a scene early in the film, in which people are seen fleeing from a tripod (panic-stricken crowd running along a street while buildings are being destroyed by a tripod in the background), recreates the subject-matter of the painting “Panic in the Streets” by Geoff Taylor, a print of which was included in the booklet accompanying the 1978 release of “‘Jeff Wayne’’s Musical Version of The War of The Worlds”.
- While filming in Bayonne, New Jersey, studio Paramount Pictures offered quick cash to residents who lived on First Street and Pointview Terrace to move their cars off the block, between a Tuesday and Friday. This was in order for the film crew to resume shooting.
- There were rumors of the movie’s title being changed to “Out of the Night”, but was thought to produce a negative fan reaction. The title was also believed to be used as an alias to keep unwanted people away from the set.
- ‘Tom Cruise’’s sixth consecutive film to break the $100m barrier domestically since 2000 and his 13th movie to break that barrier in total.
- ‘Tom Cruise’’s character tells his son that the next time he takes his car with no license and no permission, he is going to call the cops on him. In Rain Man (1988), Cruise’s character does not speak to his father because his father called the cops on him for taking his car.
- There is a Jaws (1975) movie poster hanging on one of the walls in Ray’s house at the beginning of the film.
- In 2005, the plane crash set was featured in Universal Studios Hollywood’s public Studio Tour. The wreckage was located mere feet from the infamous Psycho (1960) house and Bates Motel sets.
- The organism seen in the opening sequence is known as the Paramecium, being a unicellular pond water protozoan that is a eukaryote, shown complete with cilia, oral groove, macro nucleus and central vacuole.
- After Ray and the kids reach dry land when the ferry is attacked and sunk, air raid sirens go off. On the day of extras casting in Athens, New York, the air raid sirens were tested, causing jokes among the extras that the Martians were coming too soon before the cameras.
- Had a 72-day shooting schedule. This was the same amount of time used for ‘Steven Spielberg’’s previous movies, Schindler’s List (1993) and Raiders of the Lost Ark (1981).
- The “Ulla” war cry the Tripods made, was made with a didgeridoo and computer effects.
- The gun that the man puts to Ray’s head is a SIG-Sauer P226.
- As Ray and Rachel run for cover toward Ogilvy’s farmhouse basement door, a flaming military Hummer rattles past. The moment was filmed in just one or two takes because the special effects flame liquid dripped onto the driver’s side tire and set it on fire.
- Wardrobe staff obtained hundreds of slightly-used military uniforms which had old regimental patches on the sleeves from their various original units. Meticulously, Wardrobe removed the patches and replaced them with patches from the 29th Division – the “Blue and Gray” division whose emblem is a circular “ying-yang”. Wardrobe also sewed a new US flag patch onto each uniform – and then prior to filming applied roll-on “stage dirt” to each flag so that it would not look too bright. Soldiers with patches other than the 29th Division are likely real NG troops wearing their own issue uniforms (and whose patches are from their own local units).
- The movie was shipped to some theaters under the title “Uncle Sam” and to others under the name “Party in Fresno”.
- The convoy scene was filmed on one of 2004’s coldest days in Virginia – so cold that “unfreezable” blue liquid in portable latrines froze solid.
- DIRTRADE (‘Steven Spielberg’): [rear-view window] important image seen in rear-view mirror.
- Ray drives a rare 1966 Shelby Mustang GT-350H, black with gold stripes. 1,001 were produced in total, with around 800 being produced in the black and gold color scheme. Also known as the “Rent-A-Racer”, it was available for rent at Hertz for $17 per day and 17 cents per mile. An original example sold at auction in 2006 for $180,900, and since a crane driver would be unlikely to own such a valuable car, it is probably one of the many replicas which have subsequently been made, worth a fraction of that.
- The actors (including extras) portraying soldiers were using real military firearms rather than the usual cast-rubber prop weapons. The current-issue carbines and M-16 rifles were de-weaponized by removing the firing mechanisms, but otherwise were “the real thing”.
- This is one of the first movies to show The United States Marine Corps new MARPAT digital camouflage uniforms, as well as the Interceptor body armor vests used by all branches of the US military.
- ‘Tim Robbins’’s line, “It’s not a war any more than it’s a war between men and maggots”, is a slightly modified quote from the original novel, substituting “maggots” for “ants”. The line was also used in the infamous 1938 ‘Orson Welles’ radio broadcast. In addition, the news reporter’s line, “Once they begin to move, no more news comes out of that area”, is taken directly from The War of the Worlds (1953). Also taken from the original film were the scenes with the probe examining the basement, followed by the inquisitive aliens. ‘Tom Cruise’ chops the head off the probe with an axe, just as ‘Gene Barry’ did in the original. Also, the shot of the dying alien’s arm coming down the ramp is a reference to a similar shot in the original film.
- The scenes on and around the commercial plane wreckage were shot on the Universal Studios Hollywood back lot.
- The lullaby sung by Rachel is “Hushabye Mountain” from Chitty Chitty Bang Bang (1968).
- Convoy Scene military vehicles were real and still had their white greasepencil convoy markings (data similar to license tag info) chalked on the driver’s side doors. Either speed or special-effects rendered these markings invisible in the final cuts.
- The Convoy Scene used only around a dozen vehicles: mostly Hum-jeeps with a few trucks thrown in. There was one M1 tank and one self-propelled cannon (mistaken for a “tank” by most civilians). The convoy roared past Robbie, Ray, and Rachel on the roadside perhaps a half-dozen times. Editing together various shots from different angles created the impression of a much larger convoy.
- ‘Tim Robbins” character is a combination of three different characters from the ‘H.G. Wells’ novel: is named Ogilvy after a friend to the Narrator; the Curate who gets trapped in the ruined house with the main character, and the Artilleryman, whose behavior and dialog is the main basis for the film’s character.
- At least twenty civilian refugee / survivor extras were carefully made up to look horribly wounded. Make-up technicians simulated large bleeding wounds, third-degree burns, and melted flesh. In the final version, the wounded survivors’ scenes were cut and the film earned a mild PG-13 rating.
- According to an interview with ‘Miranda Otto’, she originally turned down the part offered by ‘Steven Spielberg’ as she was newly pregnant. However, Spielberg wanted her to play the part and changed the script to incorporate her pregnancy into the role.
- DIRTRADE (‘Steven Spielberg’): [Signs] Using a sign with directions or instructions as a joke. In this case, as the first buried machine is tearing up the street in Ray’s hometown, causing all sorts of damage, the camera pans past a close-up of a municipal “No Littering” sign.
- Ray’s horror at discovering ash all over himself after stumbling home was influenced by September Eleventh survivor stories.
- An actual out-of-use Boeing 747 was bought to be used as the crashed plane.
- Some army troops used were from the 29th Division (Maryland Army National Guard), known as “The Blue and the Gray” from their yin-yang looking shoulder patch (visible when the day convoy went by the Ferrier’s and the son was getting splashed).
- When Rachel sees the dead bodies floating in the river, the front view of her shows her breathing very hard with shoulders noticeably rising and falling. The camera angle immediately reverse to show her from behind, and she is standing still with no shoulder movement. The camera then returns to a front view where she is still breathing hard – just as Ray comes up from behind her.
- Robbie does not catch anything in his glove when Ray throws the ball at him, a second later a ball magically appears. This happens as Robbie says: “Is it OK with you if I laugh the first 500 times you tell that one?”
- While Ray and his kids drive to his ex-wife’s house you see a swing around shot of the van. The van’s back windows are rolled down, when in fact on that model of Dodge van, you can’t do that.
- When Ray exits the house with Rachel and Robbie after the jetliner has crashed, Robbie has his hands by his side and raises them up as he sees the destruction. In the next shot, his arms are down, and he repeats the same motion again. This occurs when Ray says, “You’re doing good, you’re doing great, we’re going to Boston.”
- After Ray throws the slice of bread at the window from the inside, it appears to be thrown from the outside. In fact you see the reflection of Ray in the window, shot from the inside.
- When Ray goes into his backyard to look at the dark cloud, his hood is up. When the camera is looking toward his face, his hood is down.
- As Ogilvy calls to Ray and Rachel before the camera pans out, at the bottom of the screen you can see Ray and Rachel standing there, when they were running seconds ago. As if waiting for a cue they begin a sprint towards the basement door.
- The amount/pattern of water on Robbie’s back changes from shot to shot, as the army tanks pass and splash water up.
- In the scene where Ray comes out of the basement after the plane crashed near the house you can see most of the walls have been blown away by the explosion. Most of the items inside the house thought (photos, lamp) are still standing upright in their original position without being burned.
- On the van that Ray steals the solenoid is part of the starter. You can not just replace the solenoid.
- Orientation of the bottle of mustard in the box of supplies Ray carries changes from shot to shot.
- When Mary Ann and Tim drop the kids off at Ray’s house, Rachel opens the door of the van into the power pole. Then in the next shot the van is parked too far away to hit the pole. Then in the following shot, the door is resting against the pole again.
- After the crash of a jumbo jet right in the backyard, Tom’s mysteriously untouched van right next to it somehow has a clear lane to drive out. And somehow a news van that had been filming National Guard units in the Pine Barrens (a hat-tip to Orson Welles’ 1939 radio broadcast) the night before was already there. And raiding the airliner wreckage for food is hardly necessary with so many abandoned houses and stores available.
- When Ray and his neighbors are watching the lightning, there is a strong wind blowing, moving all the washing hanging out. But the trees behind them are still and not moving at all.
- When Ray returns home after witnessing the first tripod emerge, his children ask what’s going on as if they haven’t seen or heard anything. With the level of destruction caused (and the fact that their TVs are off due to the power being out), they would have had to have heard or seen some activity, since Ray had to live within walking distance of the affected area, because he wasn’t driving.
- It’s a special Hollywood EMP that disables only the electronic equipment that the filmmakers want it to. While “technically” it’s a factual mistake that, for instance, the camcorder is still working, it was clearly a deliberate decision by the filmmakers. We also only have a TV reporter’s word for it that it’s an “EMP” anyway, so it could be an alien weapon of which we know nothing.
- After they swim across the Hudson River and Rachel starts to get up to run, she isn’t wearing her sleeveless purple hoody and none of the others has it, but a few scenes later, she’s wearing it again walking along with Robbie and her Dad
- In the part where the jet crashes into the house, it should have destroyed everything in sight, but the mini-van Ray was driving afterwards was unharmed.
- When driving down the highway after all the cars have broken down, all of the cars are pushed aside making a path. The cars should have been where they were while driving, so Ray would be driving in the field.
- The military convoy completely passes by Ray and the kids while they are standing on the country road at least once, but cutaway shots provide more and more vehicles each time. This goof is later repeated in the scene of the battle on the hill just before Ray and Rachel meet Ogilvy (the same tan-colored Abrams tank can be seen in the background behind Rachel even after it is shown driving up to and atop the hill ahead of her).
- When Ray and Robbie wake up from the noises in the basement of the ex-wife house, they are standing. Right after, Rachel is running to Robbie and he holds her. After that Robbie is not holding anyone when he should hold her. Right after that Robbie holds her again.
- As Ray runs from the heat ray he seems to be headed towards Van Buren Street but when he comes out of the store he is back on Polk Street where he started running.
- When Ray is watching the lightning in his back garden and the camera is behind him, his hood flips up against his head. However, in the next shot his hood is back down again.
- When Ray first puts the blindfold on Rachel in the basement, the folds are crooked and bulged, in the subsequent shots the blindfold is perfect, it is evenly folded and the middle fold is uniform and flat.
- In the opening scene, When Ray is operating the heavy machinery, he is not visible because of deep shadowing. In a cutaway seconds later, he is in full bright sunlight.
- At the beginning of the film when Ray and Rachel are in the sitting room, Rachel gets down and lies back on the sofa. In the next shot she is sitting upright on the sofa.
- Ray tells the mechanic to change the solenoid, which would be fried if hit with an EMP, due to the fact that it had electricity flowing through it (which is why the solenoid and all solenoids not already installed in cars would work.) The only problem with this is that any car not running during the EMP, wouldn’t have been effected by it, and would have started.
- In a scene following the aliens emergence from beneath the tarmac of the intersection, Ray Ferrier runs for the safety of the sidewalk and we see a shot from behind him looking towards the alien breakout. He has one foot on the sidewalk and one in the gutter. In the next shot, looking front on to Ray, he is standing in the middle of the sidewalk.
- Right before Ray first drives away in the stolen van, he tells his son Robbie to close the door. So he reaches over to close the door. But in the shot BEFORE that one, you can clearly see Robbie already reaching over to close the door. In other words, he reaches over to close the door twice.
- When the tripod emerges Ray hides behind a building on Polk Street, but when he comes out he is on Van Buren Street.
- The left rear van window is missing in some freeway scenes and is later seen intact.
- During the first lightning storm Ray asks “Where’s the thunder?” We are supposed to believe that this is something more than lightning. But thunder is the sound of the air rushing back into the space that was occupied by lightning. No matter how it is generated, this “lightning” still takes up space and therefore the void left by it would still create thunder.
- When Ray is leaving his ex-wife’s house after the tripods destroy it, you can see a crew member lean back behind the jet engine as the camera pans to the right.
- When driving up to Boston in the minivan, the gear selector lever is in the park position.
- At the end of the film, Mary Ann sighs on the glass in the door of her apartment, fogging it. We immediately cut to the reverse angle, and the fog has disappeared.
- Toward the end of the movie, when the crowd of people are herded into a tunnel, you can see red CGI reference marks in one of the shots on the wall of the tunnel behind Ray and Rachel. The reference marks are used to properly match the movements of CGI add-ins to the actual camera movements and should have been erased. (fixed in DVD release)
- In the ferry boat scene, fleeing crowds are back lit by floodlights placed off the main street, not by the lights of the approaching tripods.
- Passenger trains along the Hudson River run along the east bank of the Hudson, not the west bank, where the ferry was departing.
- When Ray is fleeing New Jersey in the stolen car to go to his ex-wife’s house he jumps on the expressway. The expressway is jam packed bumper-to-bumper right before the point of the exit on ramp. The road from the point of the on ramp and after (where Ray is driving) while still cluttered with cars, is still very easy to navigate whipping in and out of each lane. There is no way a car could drive on the expressway before the point where Ray jumps on the expressway.
- A boom mic is visible, just after Robby runs away and gets “killed”. As the owner of the house walks back into the basement after shutting the door, look above his head.
- The headlights and taillights could still be on because the EMP had fried the starter, not the battery. That’s why when they fixed the van Ray drove, they only replaced the starter, not the battery too.
- When Harlan Ogilvy first stands outside his house with his gun in the air, yelling to Ray to come over, you can see Ray and his daughter standing still in the background waiting for their cue to start running toward the house. They stand still until Harlan yells a second time, then they start running toward the house.
- The camcorder that is dropped when the aliens first arrive shows the horizon lined up with the base of the view-screen while the camera rests on an angle. The view-screen’s horizon lined up with the horizon outside of the view-screen.
- During the “hummus scene” Rachel sits on the couch and crosses her left leg over her right. In the next view, from the table, her legs appear reversed.
- When they’re exiting the home where the jumbo jet crashed, the cockpit window is broken with a hole in it. Cockpit windows do not break like windows in homes. They are in fact multiple layers of various materials including special glass, heating elements, bonding materials, etc, and when they break, they “spiderweb” into many, many small pieces. The window in this scene appeared to be a single pane of glass that looked like it had a rock thrown through it.
- When Robbie saw the military the first time on that country road, his skin was showing above his pants. When his dad grabbed him, his shirt was tucked in.
- When Ray, Rachel and Robbie are driving in the mini van out of town, through the interstate traffic, Ray’s steering inputs don’t always match the direction of the van as seen out of the van’s rear window. At one point, Ray definitely steers to his right and the van obviously moves to the left.
- When Ray empties takes the bag of bread to make the peanut butter sandwiches, he dumps out all of the bread slices. Yet in the next shot, you can clearly see a few slices still in the bag.
- When Rachel goes to the river to use the “bathroom”, Ray opens the back of the van. In the next shot, Ray is standing next to the van with the back end closed. A few moments later he opens it.
- When Robbie runs to the back of the ferry and we get an over the shoulder shot of him looking over the boat and dock, there is a member of the film crew off on the dock on the right hand side with a flag (black material on a metal frame) fanning the fog/smoke machine. He’s easy to miss in the chaos.
- If the electrical storms have EMP pulses then there would have been no way for a TV camera to film the “pod coming down in lightning” that the News Reporter showed Ray in the TV truck. The camera taking the picture would’ve been shut down by the EMP and no one would ever know about the lightning pods.
- The Train (Acela) streams by while on fire. All trains have a “deadman” switch. They come to a full emergency stop if the engineer is incapacitated (as he/she would be if on fire).
- The water tripod tips the boat over. Ray, Robbie and Rachel fall in. Suddenly, a car comes towards them. If you look behind it you can see wires attached to the back.
- When the first tripod comes out of the street, two workmen are on a scaffold. Two shots over their left shoulders show the scaffold swaying; the long shot in between shows the scaffold static and the workmen move backwards in the first shot, but are in the front in the long shot.
- When Ray, Rachel, and Robbie run into the concrete utility room to escape the fireball from the crashing plane, Ray has to struggle to push the door closed against the flames. But in the morning, exiting the room, he pushes it open. He should have pulled it open to exit the room.
- When the tripod first appears out of the ground in the intersection and the ground is cracking, Ray puts one foot on the street and one on the curb for balance. In the next shot, both his feet are firmly on the ground
- When Ray arrives to his ex-wife’s house, you can see a flat forest behind all the houses in the street. After the Jumbo jet has crashed you can see a little hill behind the destroyed houses.
- In the scene where Ray and Rachel are hiding underneath the kitchen table during the lightning storm, you see Rachel duck her head and cover her face with her hands. In the next shot the camera views them from behind and you can clearly see Rachel looking up. Then in the next shot the camera is on Rachel and she is ducking.
- During the scene where Ray throws the baseball and Robbie lets it go past him and through the window, Ray does not actually have anything in his hand when he throws the ball.
- When Rachel was channel surfing at Ray’s place, she finally decides to watch “SpongeBob SquarePants”. However, the audio is unsynchronized with what is happening.
- When Ray and the kids take refuge in the diner when their car has been taken off them, there is a woman with long blonde hair in the booth next to them. When the gun shot goes off outside and they turn to look she has disappeared, there is less than one second for her to get up from the booth and walk the length of the diner and leave.
- At the first site of the lightning, a police officer clearly says, “There’s nothing down there, not even water mains”. Later on as the tripod is revealing itself you can clearly see water sprawing out from the ground, showing that there are water mains below.
- When Robbie returns from the downtown area where the lightning struck 26 times, you can hear him talking about it to Ray; you can’t see his face, but when the camera zooms in on him, his mouth isn’t moving.
- When Ray is walking towards Mary Ann’s parents’ house in the final scene, the car closest to the house on his right hand side is a white or silver-colored car with its hood open, its front facing the house. But when his daughter runs off to meet Mary Ann, suddenly two other cars appear there, a dark blue station wagon and another car are parked with their fronts turned towards the pavement. When there is a shot of Ray near the house, all the cars in the background are parked in line behind the car with the hood open.
- When Ray and his kids enter the empty house looking for the mother, there is a brief shot of a picture of the family on a shelf. This picture is obviously a faked composite because the light is hitting their faces from different directions.
- There is a scene where Tom Cruise is running from the front of his building to the backyard of his building. The shot of him running around the building in the alley is very dark, like it was filmed at night. When he emerges into the backyard, it is daylight.
- Near the end of the film, a group of soldiers attack an alien drone with a Javelin shoulder-fired missile launcher. The firing effect in the film has a dramatic backblast complete with flames shooting out of the missile tube. The actual Javelin has a “soft-launch” feature where the missile weakly pops out of the tube and travels a certain distance before the main rocket motor ignites. It was designed to help mask the gunner’s firing position.
- When Robbie is helping the people that were left hanging on the ramp of the ferry, the water below them is calm, even though just a moment ago the propellers were spinning at full power.
- If a large jumbo jet crashes into a house, and the house catches fire just as it it did as everyone got into the concrete utility room, it would have burned considerably more than shown. The basement had some charring, but there were plenty of clothes and other flammable debris scattered around, unburnt after the fireball supposedly engulfed the basement.
- During the first attack, we see a Grand Cherokee coming out from the crater, falling down on a Ford Taurus on the left side of the screen. That car’s left window was down before the camera pans up, and the same window is up (and stays intact) after the Cherokee comes down on it.
- As Ray begins to leave the house after the plane crash, stopping to pick up Robbie, the reflection of the camera operator is visible between the passenger and sliding side doors.
- Before the first alien tripod comes out of the ground, a circular portion of the ground turns to rubble and then twists counter clockwise. Ray looks at the church and sees the front of it twisting counter clockwise, but then looks down at the ground by his feet (in the same shot), and the ground is twisting clockwise.
- “Little Deuce Coupe” by ‘Brian Wilson’ and ‘Roger Christian (II)’
- “Hushabye Mountain” by ‘Richard M. Sherman’ & ‘Robert B. Sherman’
- “Flatline” by Jeffrey Scott Harber, Jayce Alexander Basques, William Peng & Drew Dehaven Hall Performed by Aphasia Courtesy of Luke Eddins at Luke Hits and Joint Venture Recordings
- “If I Ruled the World” by ‘Leslie Bricusse’ and ‘Cyril Ornadel’ Performed by ‘Tony Bennett’ Courtesy of Columbia Records By Arrangement with Sony BMG Music Entertainment
- “Nobody Move” by Benjamin Mallon, Michael Ashby, William Sherwin, Eric Joy, Omari Edwards & Glenn Kuchenbeiser Performed by Capstone Courtesy of Luke Eddins at Luke Hits
- “Enigma Vibe 2″ Written & Performed by Nicholas Carr Courtesy of Nickelodeon
- “Sailor Moon BGM” by Arisawa Takanori Courtesy of Dic Music, LLC and Columbia Music Entertainment, Inc.
- “Fa Wat” by Christopher Shawn King Performed by Kriz Kang Courtesy of Luke Eddins at Luke Hits
- “Infierno” Written & Performed by Santino Courtesy of Luke Eddins at Luke Hits and Anouk Zisa-Bongiovi