The Lord of the Rings: The Fellowship of the Ring’ Mistakes You’ll Never Be Able to Unsee

Even a well-made film like ‘The Lord of the Rings: The Fellowship of the Ring’ has a few minor errors. These are usually small inconsistencies or noticeable effects that you don’t really notice because the story is so engaging. But if you pay close attention, you’ll see small details that show how different shots and takes were combined to create the final scenes.

These effects are achieved through changing props, resetting the lighting, using clever perspective tricks, and combining genuine stunts with protective safety equipment. While these details don’t detract from the narrative, they’re fascinating for observant viewers who appreciate the technical side of filmmaking. Here are ten specific errors from ‘The Fellowship of the Ring’ that you can notice by pausing and examining the surrounding frames.

Sting not glowing during the Amon Hen ambush

During the fight at Amon Hen, the Uruk-hai surround the Fellowship, and Frodo pulls out Sting. The sword is famous for glowing when danger is close, but in many shots it appears not to glow even though enemies are all around. This is different from earlier scenes in Moria, where the sword’s glow clearly warned the Fellowship about the goblins before the cave troll showed up.

The most probable cause is a combination of footage from a secondary filming unit and the challenges of actual production. The glowing effect was frequently added in post-production, and some distant shots utilized lightsabers without having lighting equipment present during filming. When the editing switches between shots with and without this effect, the visual cue that something is wrong vanishes, even though the danger is clearly visible on screen. This creates a disconnect for the viewer.

Aragorn’s sword flexing like rubber in the Weathertop fight

During the fight with the Ringwraiths on Weathertop, Aragorn’s sword bends unnaturally when he swings it – this was intentional. Because the prop needed to be safe for the actors and when used with fire effects, a flexible version of the blade was created. This allowed for quick, close-up action and safe swings near the camera.

Due to the fast-paced action, the curve of the prop sword is only noticeable for a split second. The filmmakers used sturdy metal swords for distant shots and more flexible, safer versions for close-up action and near-hits. This rapid switching between swords briefly reveals the safety prop while it’s moving.

The One Ring changing size on the chain and on Frodo’s hand

As a movie buff, I’ve always noticed some interesting details while rewatching The Lord of the Rings. Throughout the story, Frodo wears the Ring on a chain around his neck. But if you pay close attention, especially in the close-ups, you’ll see the chain’s length actually changes from shot to shot – sometimes it’s longer, sometimes shorter. And the Ring itself? It seems to change size too! It looks bigger in those insert shots – you know, the really focused ones – than when we see it in wider, medium shots. It’s really noticeable when Frodo is handling the Ring, like when he catches it or if it falls. Depending on the camera angle, the Ring’s diameter can seem completely different from the previous shot. It’s a classic example of a continuity error, but honestly, it doesn’t bother me too much – it’s part of the charm!

Several hero Rings were created for filming. A larger Ring was used for detailed close-up shots, allowing for clear capture of intricate engravings and reflections. Meanwhile, a smaller, lighter version proved ideal for scenes involving running and stunts. Switching between these Rings during different shots resulted in minor size inconsistencies within the same scene.

Snow continuity drifting on Caradhras

As the Fellowship ascends Caradhras, snowflakes land on their cloaks and hair, but quickly melt or shift position as the camera gets closer. The amount of snow accumulating on their shoulders can change dramatically – appearing heavy in a long shot and then light in a close-up – even though only a few seconds pass within the story’s timeline.

The scenes used a blend of actual locations, studio sets, and artificial snow. While costume and set teams attempt to keep the snow consistent between shots, factors like wind, actor movement, and the heat of the lights cause it to melt and shift. Because the editing process often selects the best takes from multiple attempts, the amount of snow and how it falls doesn’t always line up perfectly.

Scale inconsistencies for hobbits in the Prancing Pony and in Rivendell

The height difference between hobbits and other characters is achieved using techniques like forced perspective, where objects appear larger or smaller depending on their distance from the camera. They also use scale doubles – stand-ins who are similar in size – and oversized set pieces. For example, inside the Prancing Pony, you might notice that the plates and mugs around the hobbits subtly change size in relation to their hands, and a character in the background may seem closer to human height in certain shots than in others. These slight inconsistencies also appear during conversations while walking through the paths of Rivendell.

These visual inconsistencies occur because the filming process used varying methods for each shot. For instance, a close-up of dialogue might use a stand-in actor or a large-scale prop, but the corresponding shot from another angle would revert to a normal set with clever perspective adjustments. When these shots are edited together, the sizes of objects and actors can appear slightly off, creating a noticeable mismatch.

Cave troll wound and mithril shirt damage not matching perfectly

During the fight in Moria, the cave troll’s attack connects directly with Frodo, causing him to fall. Afterwards, near the river, he shows them the mithril shirt. Upon inspection, the damage on the shirt doesn’t quite line up with the way the troll hit him. The size of the hole and how the metal links are bent are a little different when the shirt is examined closely.

Different shirts had specific purposes. One shirt was designed with safety in mind for physical comedy, including padding to cushion impacts, while another was made to clearly show damage to rings. When viewed closely, and with changes in lighting or how it’s handled, the appearance of the dented area shifts slightly when compared to footage of the initial impact.

Book of Mazarbul page position shifting while Gandalf reads

Within Balin’s tomb, Gandalf examines a chronicle detailing the colony’s demise. The amount of text visible on each page and the precise spread of the pages shift with the camera angles, even during a single line he’s reading. The tears and stains on the pages also appear in different places, changing from wide shots to close-ups.

This happens because the filming process needed many takes and restarts to get the necessary shots. The scene involved numerous camera setups, and the prop had to be repeatedly opened to particular pages for close-up shots. While continuity photographs help maintain consistent placement, the pages being worn and delicate meant even small movements resulted in noticeable differences on screen.

Council of Elrond chain length and pedestal placement changing

During the Council of Rivendell, the Ring sits on a short stand while discussions become heated. As the camera switches between speakers, the length of the chain beside the Ring and the angle of the pendant subtly change. The Ring’s position on the stand also shifts a little with each camera angle.

Close-up shots of the units were filmed separately from the main dialogue, and the crew made adjustments to the chain to achieve the best visual arrangement in each shot. As a result, when these close-ups are integrated into the conversation, the arrangement of the metal loops and where the Ring rests doesn’t always align with what was shown in earlier shots.

Blood and grime continuity during the fight with Lurtz

As a total film buff, I was really struck by the fight between Aragorn and Lurtz. It’s amazing how the editing emphasizes the brutality – you see blood and dirt smearing across their faces and armor, and the patterns actually *change* with each quick cut. Like, a streak of blood on a cheek will look darker one second, then lighter the next as the camera angle shifts. And the splatter on Lurtz’s chest? It literally morphs between the shots of the impacts and his reactions. It’s such a visceral and effective detail – a real testament to how editing can add so much to a scene. It’s not just about showing the fight, it’s about making you feel it. Truly brilliant.

Filming action scenes can take many days, requiring makeup touch-ups even during simulated rain and intense physical activity. Stunt choreography is recorded from several angles to ensure both safety and a clear view of the action. As editors piece together the fight sequence and establish the spatial layout, the amount of dirt and wear on the actors can subtly change between takes. This detail affects how the scene feels to the viewer.

Sam’s gear continuity when he charges into the Anduin

As the film concludes, Frodo boards a boat, and Sam follows by wading into the water. When looking at the scenes of Sam struggling underwater and then coming up for air, the way his straps and equipment are positioned on his shoulders isn’t consistent. A shoulder strap might be positioned high in one shot, then lower or twisted in the very next one, despite the fact that only a short time has passed within the story.

Filming in water presents challenges for clothing. Safety divers assist performers between shots, but wet straps can become loose and uncomfortable. When editors select the best takes based on feeling and timing, the support system-the backpack rig-might slightly change position from one shot to the next. This is a normal occurrence.

Tell us the first small error you noticed in the comments, so that other fans of ‘The Fellowship of the Ring’ can try to find it as well.

2025-10-04 14:47