After Vicki comes home and she performs in her house for Norman, the doorbell rings and he goes to the door to accept a package for Vicki. His hair is all mussed-up when he goes to the door, but after he closes it and the camera goes back to him, there isn't a hair out of place. Then he walks over to where Vicki is and his hair is all mussed-up again.
At the Sneak Preview at the Marcopia Theatre, the first sequence of the Born in a Trunk number, which Garland and Mason are apparently watching from the balcony, is projected in 16:9 ratio, but the rest of the number, as viewed by members of the film audience, in the film itself, is in CinemaScope in the much wider 2.55:1 wide screen ratio.
Vicki and Norman's house is shown, in the distance, as being on top of a bluff overlooking the ocean, but inside the house, it appears that the house is sitting on the beach.
When Esther and Norman are in Norman's Lincoln convertible, in the close-ups the seats have a blanket over the backrest, but in earlier and later shots only the car's standard upholstery is visible.
When Esther and Norman are in Norman's convertible, the distance between them keeps changing between shots.
At the Academy Awards, Vicki is announced as one of four nominees for Best Actress. The number of Oscar nominees in this category has never been four, and, since 1936, there have always been five Best Actress nominees.
At the end, Norman opens the sliding door and Esther begins to sing. After stepping outside he closes the door completely, yet the sound level of her voice is not reduced. However, this is due to the fact that Esther is singing through the open kitchen window as she stated in previous dialogue.
While Vicki and Oliver are talking on the patio as Norman is listening in bed, the seascape reflected on the glass doors behind them keeps resetting as though the film loop started over.
The opening scenes of cars arriving for the benefit combine actual shots of a Hollywood event with ones filmed for the movie. But in one shot, taken from the perspective of a spotlight crew atop their tower, the footage of the real event is shown on the right side of the screen, while footage shot for the movie is at the left. Not only is the disparity between the two shots obvious, but the split screen is completely mismatched, so that the cars on the right appear to be moving at a sharp angle directly into the cars and building in the shot at left, and it looks as though there are two streets intersecting below.
The Verdo Justice of the Peace is a very old man, and apparently a longtime local. Yet he pronounces the county name of Los Angeles as "Anjeliss" in the modern fashion. Someone of his generation would be more likely to use the classical form, "Angle-iss."
At the recording session for "Here's What I'm Here For", Esther runs across the studio to Norman during the chorus break, whereby a sound man moves his boom mic over to them to pick up their conversation already in progress. However, in the playback their conversation begins at scratch, immediately after the beginning of the chorus break.
During the "The Man That Got Away" number, the entire bar backdrop and the chairs to the left of it on-screen are a curtain that you can see the bottom of on the floor.
The terrace outside Esther's Oleander Arms apartment overlooks the twinkling city lights far below, but her address is in the flatlands of Central Hollywood, nowhere near the hills.
The Shrine Auditorium benefit which opens the film takes place in Los Angeles, but a very prominently displayed TV camera displays the call letters WABD which at that time was the DuMont Television Network's New York City station, broadcasting on Channel 5, and would not have a camera crew on hand in Los Angeles to record such an event.