Goofs for
Intolerance: Love's Struggle Throughout the Ages (1916) More at IMDbPro »

• Crew or equipment visible: Director's assistant clad in coat and tie.
  
  
• Revealing mistakes: An extra out of character, fumbling with his costume, in the Belshazzar feast sequence.
  
  
• Continuity: The position of the Mountain Girl's head when Belshazzar arrives at the marriage market. In one shot her head is bowed, in the next, she is looking up at him, and in the shot after that, her head is still bowed and then she looks up at him.
  
  

• Continuity: In the opening of the Babelonian story, shortly before the intertitle reading "Dearest one - in the ash heaps of my back yard...etc." (spoken by the Rapsode), a group of extras behind the Mountain Girl are shown get up and walk off to the left. In the next shot, when the Rapsode puts his face up to the Mountain Girl's ear to speak his line, these extras are shown to still be seated in their former places.
  
  
• Crew or equipment visible: As the Jenkin's factory militia goes to attack the striking workers, the shadows of a camera and two cameramen, one on either side, are cast onto the ground in front.
  
  
• Continuity: During the Babylonian bacchanal, the same extra, dressed as a slave girl, is standing behind both Belshazzar and Beloved. She is looking in different directions and has her arms in different positions in each shot.
  
  
• Anachronisms: Tire tracks during the chariot race sequence.
  
  
• Crew or equipment visible: Camera shaddow durring the tracking shot of the walls of Babylon, right before the Mountain Girl is introduced.
  
  
• Revealing mistakes: While the vestal virgins of uplift are at the party given by Ms. Jenkins, and are indoors the whole time, the feathers on their hats flutter and their dresses are blown as if by a breeze. This sort of thing occurs in numerous indoor scenes throughout the film, since interiors were shot on outdoor sets.
  
  
• Continuity: In the modern story, when Jenkins stops outside the dance hall, he picks up a coin in one hand. In the next shot (a close-up of the coin), it is in the opposite hand.
  
  

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