Fatal Attraction

Fatal Attraction (1987)

3 suggested corrections

(2 votes)

Revealing mistake: Near the end of the film when the wife is running a bath, Michael Douglas is down stairs making tea. As he walks in and out of the living room, in the background there is a curtain that is drawn open but there is no window.

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Suggested correction: There is no window with the curtains drawn that is not there. In one scene you can see the light of another window and curtain reflecting on the wall, but that is only a reflection, not a real window.

Cynthia Gurski Premium member

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Suggested correction: The earring is still there.

Continuity mistake: When Michael Douglas is listening to a "deposition" (which is really Glenn Close calling him names, etc.) using his ear phones in his new attic home (just before his wife comes up and finds him), the audio tape is not the same one as he was listening to minutes before in the car! The words are almost the same but the inflections are different.

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Suggested correction: It is the same tape, although a mistake does remain - the tape when first being played in the attic is a few sentences before where the tape should start (without him rewinding it at all).

Continuity mistake: One scene has Glenn Close in bed shot from profile, and the sheet in down exposing her breasts. The film cuts to a frontal shot and the sheet is up around her neck. When it cuts back to profile, the sheet is down again.

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Alex Forrest: You're here with a strange girl being a naughty boy.
Dan Gallagher: I don't think having dinner with anybody's a crime.

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Question: What is the significance of Glenn Close and the color white? I noticed that her apartment is white and with the exception of one scene when she's wearing the black leather coat, she is always wearing white. Any thoughts on this?

Enchantress

Chosen answer: With questions such as this, one can either speculate, or one can go directly to the source. So, using IMDb, I looked up the names of the crew on "Fatal Attraction." The costume designer is listed as Ellen Mirojnick. The set decoration was the responsibility of George DeTittas, Sr. I found Ellen Mirojnick on Facebook (https://www.facebook.com/Ellenmirojnick/posts/263462080524551?comment_id=263621453841947&offset=0&total_comments=2┬Čif_t=feed_comment), and posed the question to her. This was the reply she gave: " (I)n our process there is always a purpose for a palette to tell a story dramatically. I chose white for her character because white is powerful and although not essentially a "color" it reflects all other colors, which would in turn reflect where we were in the story. I thought through her silhouettes and use of shades of whites, it would reflect her mood and not give away the demon she kept hidden. WHITE is powerful... As she was!" I have not yet been able to track down Mr. DeTittas for comment. But I have posed the additional question to Ms. Mirojnick regarding whether the color palette motif was a decision shared by different departments on the film. Ms. Mironjnick added the following comments: "she wears white to discuise (sic) her darkness, that somehow is revealed in certain places.. white is all things combined .. it radiatesits (sic) the confusion as if she was in an asylum, but her own."

Michael Albert

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