Film goofs - page 57

When Hanafi El Obbaha pours boiling water from the kettle onto Ahmed’s Colleague's head in the workshop, the boy stands still without any natural reaction to something like that; logically, he would run away, move aside, or jump away rather than wait for the water to be poured on his head and merely scream.

When Hanafi El Obbaha detaches the steering wheel from the car and hits people with it, we hear the horn with every blow, which is illogical because a steering wheel cannot make a sound unless it is connected to the car battery.

When Hanafi El Obbaha holds the teapot, thick smoke can be seen coming out of it, which is too dense and illogical even for boiling water.

When a man punches Hanafi El Obbaha before he falls onto the donkey, the fist is clearly in the air, yet we hear its sound and see Hanafi El Obbaha fall onto the donkey.

When Sherif hits a man in Nousa's hideout, his hand clearly does not actually hit the man and is some distance away, yet we see the other man's reaction to the blow and hear the sound of a hit that did not happen.

When Hanafi El Obbaha beats some of the prisoners with him, he appears to punch One of the Men, but the fist does not actually hit the man, even though we hear the sound of the blow. The same thing happens again when he hits someone against the bed frame.

When Dr Raafat says to Sherif, "Thank God you're safe," after his release from detention, from the front he looks at her seriously, but in the very next side shot he smiles at her.

After Sherif leaves his house following the pepper scene and goes to his father's house, a shadow can be seen moving on the left side of the screen.

When the camera pulls back over Sherif and Mona's bed after their marriage, the camera's shadow can be seen moving with it on the right of the frame.

We see Sherif's phone number on Mona's mobile: 01000606055, but in the same minute he calls her again and a different number appears (01000606055).

There is a shot of Young Abdel-Halim Hafez in his youth looking out through a car window, but in the streets we see modern types of cars that did not yet exist in the 1950s and 1960s.

When the camera moves closer to Darwish after Antar asks where he is going, midway through the film, the camera's shadow can be seen moving over Darwish's body with its movement.