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** A lot of actresses have stated that their role as a Bond Girl is "not your typical damsel in distress" and that they're able to keep up with Bond. So many, in fact, that it becomes obvious that Bond Girls are rarely the damsels people believe them to be. Barring some infamous examples ([[Film/AViewToAKill Stacey Sutton]] comes to mind), most Bond Girls are at the very least not a hindrance to Bond, and very often save the day with their skillsets and Bond's guidance. To illustrate the point, even an ordinary cellist like [[Film/TheLivingDaylights Kara Milovy]] manages to drive a truck under fire and fly a plane.
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* Many people assume that Creator/MelBrooks was directly parodying ''Film/RobinHoodPrinceOfThieves'' with ''Film/RobinHoodMenInTights'' and was directly lampooning ''Film/BramStokersDracula'' with ''Film/DraculaDeadAndLovingIt'', both film being then recent when he did the parodies. There are some issues with that, however.
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* Many people assume that Creator/MelBrooks was directly parodying the then recent ''Film/RobinHoodPrinceOfThieves'' with ''Film/RobinHoodMenInTights'' and was directly lampooning the similarly recent ''Film/BramStokersDracula'' with ''Film/DraculaDeadAndLovingIt'', both film being then recent when he did the parodies.''Film/DraculaDeadAndLovingIt''. There are some issues with that, however.
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* Many people assume that Creator/MelBrooks was directly parodying ''Film/RobinHoodPrinceOfThieves'' with ''Film/RobinHoodMenInTights'' and was directly lampooning ''Film/BramStokersDracula'' with ''Film/DraculaDeadAndLovingIt''. There are some issues with that, however.
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* Many people assume that Creator/MelBrooks was directly parodying ''Film/RobinHoodPrinceOfThieves'' with ''Film/RobinHoodMenInTights'' and was directly lampooning ''Film/BramStokersDracula'' with ''Film/DraculaDeadAndLovingIt''.''Film/DraculaDeadAndLovingIt'', both film being then recent when he did the parodies. There are some issues with that, however.
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** ''Dead And Loving It'' is such a direct parody of ''Film/Dracula1931'' that it's practically the same movie but with jokes. This includes its focus on Renfield, using him in the opening act rather than Jonathan Harker, as in the novel, having Dr. Sewart be Mina's father instead of one of Lucy's potential suitors, and Creator/LeslieNielsen pretty much just doing his best Creator/BelaLugosi send-up without even trying to include any of Creator/GaryOldman's interpretation. The only element taken from the Creator/FrancisFordCoppola film is making Lucy a more sexual character, but even there it's largely for the joke of her trying to seduce a stuffy Englishman.
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** ''Dead And Loving It'' is such a direct parody of ''Film/Dracula1931'' that it's practically the same movie but with jokes. This includes its focus on Renfield, using him in the opening act rather than Jonathan Harker, as in the novel, having Dr. Sewart be Mina's father instead of one of Lucy's potential suitors, and Creator/LeslieNielsen pretty much just doing his best Creator/BelaLugosi send-up without even trying to include any of Creator/GaryOldman's interpretation. The only element taken from the Creator/FrancisFordCoppola film film, aside from small gags like Dracula's wig, is making Lucy a more sexual character, but even there it's largely for the joke of her trying to seduce a stuffy Englishman.
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* Today, everyone knows that the ''Film/{{Scream}}'' movies all start with a scene in which a big-name celebrity is killed off, and that the [[Film/{{Scream 1996}} first of these]] is Creator/DrewBarrymore, who, being the one of the biggest names on the bill, is set up as a DecoyProtagonist. This is all true, but many don't realize that Barrymore's character is actually the [[spoiler: ''second'' person to die on-screen. Every movie begins with the death of not only a celebrity, but a ''couple'' (well, until the [[Film/{{Scream 4}} fourth]], but that opening is atypical for a lot of reasons)]]. It's interesting to note that one of the movie's more famous moments is Drew Barrymore citing Common Knowledge about ''Franchise/FridayThe13th'' and getting a trivia question wrong, with grave consequences.
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* Today, everyone knows that the ''Film/{{Scream}}'' movies all start with a scene in which a big-name celebrity is killed off, and that the [[Film/{{Scream 1996}} first of these]] is Creator/DrewBarrymore, who, being the one of the biggest names on the bill, is set up as a DecoyProtagonist. This is all true, but many don't realize that Barrymore's character is actually the [[spoiler: ''second'' person to die on-screen. Every movie begins with the death of not only a celebrity, but a ''couple'' (well, until the [[Film/{{Scream 4}} [[Film/Scream4 fourth]], but that opening is atypical for a lot of reasons)]]. It's interesting to note that one of the movie's more famous moments is Drew Barrymore citing Common Knowledge about ''Franchise/FridayThe13th'' and getting a trivia question wrong, with grave consequences.
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* Many people assume that Creator/MelBrooks was directly parodying ''Film/RobinHoodPrinceOfThieves'' with ''Film/RobinHoodMenInTights'' and was directly lampooning ''Film/BramStokersDracula'' with ''Film/DraculaDeadAndLovingIt''. There are some issues with that, however.
** ''Men In Tights'' absolutely includes humor based on ''Prince Of Thieves'', but overall, it is much more strongly a parody of ''Robin Hood'' films in general, but still, largely, ''Film/TheAdventuresOfRobinHood'' starring Errol Flynn. This is reflected in the jerkin-and-hose mode of dress that Robin and the Merry Men adopt (hence the title), Prince John as the main villain with the Sheriff as his lackey, Robin competing in an archery contest and a scene directly pulled from the Flynn film where Robin walks into Prince John's dining hall carrying a freshly-killed deer. Creator/CaryElwes is also basing his portrayal off of Flynn's, even calling out Creator/KevinCostner for not using a British accent.
** ''Dead And Loving It'' is such a direct parody of ''Film/Dracula1931'' that it's practically the same movie but with jokes. This includes its focus on Renfield, using him in the opening act rather than Jonathan Harker, as in the novel, having Dr. Sewart be Mina's father instead of one of Lucy's potential suitors, and Creator/LeslieNielsen pretty much just doing his best Creator/BelaLugosi send-up without even trying to include any of Creator/GaryOldman's interpretation. The only element taken from the Creator/FrancisFordCoppola film is making Lucy a more sexual character, but even there it's largely for the joke of her trying to seduce a stuffy Englishman.
** ''Men In Tights'' absolutely includes humor based on ''Prince Of Thieves'', but overall, it is much more strongly a parody of ''Robin Hood'' films in general, but still, largely, ''Film/TheAdventuresOfRobinHood'' starring Errol Flynn. This is reflected in the jerkin-and-hose mode of dress that Robin and the Merry Men adopt (hence the title), Prince John as the main villain with the Sheriff as his lackey, Robin competing in an archery contest and a scene directly pulled from the Flynn film where Robin walks into Prince John's dining hall carrying a freshly-killed deer. Creator/CaryElwes is also basing his portrayal off of Flynn's, even calling out Creator/KevinCostner for not using a British accent.
** ''Dead And Loving It'' is such a direct parody of ''Film/Dracula1931'' that it's practically the same movie but with jokes. This includes its focus on Renfield, using him in the opening act rather than Jonathan Harker, as in the novel, having Dr. Sewart be Mina's father instead of one of Lucy's potential suitors, and Creator/LeslieNielsen pretty much just doing his best Creator/BelaLugosi send-up without even trying to include any of Creator/GaryOldman's interpretation. The only element taken from the Creator/FrancisFordCoppola film is making Lucy a more sexual character, but even there it's largely for the joke of her trying to seduce a stuffy Englishman.
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* Everyone knows the classic theme to the original ''Film/Dracula1931'' is Bach's ''Toccata and Fugue in D Minor'', leading the piece to become permanently associated with classic horror movie monsters in the popular imagination. Except it doesn't appear anywhere in the movie; the actual theme is Tchaikovsky's ''Swan Lake.'' [[note]]''Toccata and Fugue in D Minor'' was used in horror and non-horror movies including ''[[Film/DrJekyllAndMrHyde1931 Dr. Jekyll and Mr. Hyde]]'' (1931), ''Film/TheBlackCat'' (1934), ''WesternAnimation/{{Fantasia}}'' (1940), ''Film/TwentyThousandLeaguesUnderTheSea'' (1954), ''[[Film/ThePhantomOfTheOpera1962 The Phantom of the Opera]]'' (1962), and ''Film/{{Rollerball}}'' (1975).[[/note]]
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* Everyone knows the classic theme to the original ''Film/Dracula1931'' is Bach's ''Toccata and Fugue in D Minor'', leading the piece to become permanently associated with classic horror movie monsters in the popular imagination. Except it doesn't appear anywhere in the movie; the actual theme is Tchaikovsky's ''Swan Lake.'' [[note]]''Toccata and Fugue in D Minor'' was used in horror and non-horror movies including ''[[Film/DrJekyllAndMrHyde1931 Dr. Jekyll and Mr. Hyde]]'' (1931), ''Film/TheBlackCat'' (1934), ''WesternAnimation/{{Fantasia}}'' (1940), ''Film/TwentyThousandLeaguesUnderTheSea'' (1954), (1954),
''[[Film/ThePhantomOfTheOpera1962 The Phantom of the Opera]]'' (1962), and ''Film/{{Rollerball}}'' (1975).[[/note]][[/note]]
** There also seems to be a general idea that the old Universal monster movies based on classic novels at least hewed largely as close as possible to the source material, and it was only later films that played around with the story. This is in no way the case. For example, ''Film/Frankenstein1931'' is practically a reinvention of the tale, keeping only the scientist's name (but changing his first!), the fact that he built a man but later considered it a monster, his love interest's name, his professor's name and otherwise told its own story. ''Film/Dracula1931'' uses Renfield in place of Jonathan for the first part of the story, the twist being Dracula succeeds in bringing him under his power, changes the names of most of the characters, has Dr. Seward become Mina's father rather than one of Lucy's suitors, and in fact does not include Lucy's having any suitors (or being much of a character) at all. The ending also has little to do with Stoker's ending, but did popularize the idea that Dracula was killed by a stake through the heart. Probably the biggest change is Dracula himself; instead of the white-haired, moustache-wearing count who speaks English so well that Harker would almost think him a native, we have dark-haired, clean-shaven Bela Lugosi, who speaks English very haltingly and with a thick Bulgarian accent.
''[[Film/ThePhantomOfTheOpera1962 The Phantom of the Opera]]'' (1962), and ''Film/{{Rollerball}}'' (1975).
** There also seems to be a general idea that the old Universal monster movies based on classic novels at least hewed largely as close as possible to the source material, and it was only later films that played around with the story. This is in no way the case. For example, ''Film/Frankenstein1931'' is practically a reinvention of the tale, keeping only the scientist's name (but changing his first!), the fact that he built a man but later considered it a monster, his love interest's name, his professor's name and otherwise told its own story. ''Film/Dracula1931'' uses Renfield in place of Jonathan for the first part of the story, the twist being Dracula succeeds in bringing him under his power, changes the names of most of the characters, has Dr. Seward become Mina's father rather than one of Lucy's suitors, and in fact does not include Lucy's having any suitors (or being much of a character) at all. The ending also has little to do with Stoker's ending, but did popularize the idea that Dracula was killed by a stake through the heart. Probably the biggest change is Dracula himself; instead of the white-haired, moustache-wearing count who speaks English so well that Harker would almost think him a native, we have dark-haired, clean-shaven Bela Lugosi, who speaks English very haltingly and with a thick Bulgarian accent.
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*** Many people believe that the film is about an old black man who finds HappinessInSlavery, to the point that Creator/{{Disney}} is reluctant to distribute it nowadays -- except the story is set '''after''' the Civil War, meaning all the black characters in it are sharecroppers, not slaves. Given how [[KeepCirculatingTheTapes scarcely-distributed this movie is]], this misinterpretation about what the movie is actually about is something that's not easily corrected. Additionally, while not as extreme as slavery, Jim Crow-era sharecropping was still a deeply exploitative institution (to the point of many historians considering it DistinctionWithoutADifference in terms of its application), which is where the ''actual'' controversy surrounding the film comes from.
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*** Many people believe that the film is about an old black man who finds HappinessInSlavery, to the point that Creator/{{Disney}} is reluctant to distribute it nowadays -- except the story is set '''after''' the Civil War, meaning all the black characters in it are sharecroppers, not slaves. Given how [[KeepCirculatingTheTapes scarcely-distributed this movie is]], this misinterpretation about what the movie is actually about is something that's not easily corrected. Additionally, while not as extreme as slavery, Jim Crow-era sharecropping was still a deeply exploitative institution (to the point of many historians considering it DistinctionWithoutADifference in terms of its application), and given his age, background, and time period, Remus would almost certainly have been a former slave, which is where the ''actual'' controversy surrounding the film comes from.
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*** Many people believe that the film is about an old black man who finds HappinessInSlavery, to the point that Creator/{{Disney}} is reluctant to distribute it nowadays -- except the story is set '''after''' the Civil War, meaning all the black characters in it are sharecroppers, not slaves. Given how [[KeepCirculatingTheTapes scarcely-distributed this movie is]], this misinterpretation about what the movie is actually about is something that's not easily corrected.
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*** Many people believe that the film is about an old black man who finds HappinessInSlavery, to the point that Creator/{{Disney}} is reluctant to distribute it nowadays -- except the story is set '''after''' the Civil War, meaning all the black characters in it are sharecroppers, not slaves. Given how [[KeepCirculatingTheTapes scarcely-distributed this movie is]], this misinterpretation about what the movie is actually about is something that's not easily corrected. Additionally, while not as extreme as slavery, Jim Crow-era sharecropping was still a deeply exploitative institution (to the point of many historians considering it DistinctionWithoutADifference in terms of its application), which is where the ''actual'' controversy surrounding the film comes from.
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** Everybody knows that Godzilla was originally a scary harbinger of destruction before he went through VillainDecay and [[HeelFaceTurn became a hero]]. While it's true that the ''series'' got considerably LighterAndSofter after the first movie[[note]][[Film/ShinGodzilla for the most part]][[/note]], that isn't because Godzilla [[TookALevelInKindness got friendlier]]. Godzilla actually ''dies'' at the end of [[Film/Godzilla1954 the original film]]; the character who repeatedly saves Earth from King Ghidorah in later films is a ''[[ThereIsAnother different]]'' mutated dinosaur [[LegacyCharacter also called "Godzilla"]]. Even through the series' various reboots, that detail has more-or-less always stayed consistent; in nearly every version, the original Godzilla was killed (usually by Dr. Serizawa's oxygen destroyer) after he attacked Tokyo in 1954, but then another, more benevolent (or at least less malevolent) monster by the same name showed up years later.
** Everybody knows that Film/{{Gamera}} is one of Godzilla's most famous enemies. Except he comes from a completely separate series of {{Kaiju}} movies made by a different company than the Godzilla movies.
** Everybody knows that Film/{{Gamera}} is one of Godzilla's most famous enemies. Except he comes from a completely separate series of {{Kaiju}} movies made by a different company than the Godzilla movies.
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** Everybody knows that Godzilla was originally a scary harbinger of destruction before he went through VillainDecay and [[HeelFaceTurn became a hero]]. While it's true that the ''series'' got considerably LighterAndSofter after the first movie[[note]][[Film/ShinGodzilla for the most part]][[/note]], that isn't because Godzilla [[TookALevelInKindness got friendlier]]. Godzilla actually ''dies'' at the end of [[Film/Godzilla1954 the original film]]; the character who repeatedly saves Earth from King Ghidorah in later films is a ''[[ThereIsAnother different]]'' mutated dinosaur [[LegacyCharacter also called "Godzilla"]]. Even through the series' various reboots, that detail has more-or-less always stayed consistent; in nearly every version, the original Godzilla was killed (usually by Dr. Serizawa's oxygen destroyer) after he attacked Tokyo in 1954, but then another, more benevolent (or at least less malevolent) monster by the same name showed up years later.
later. The only exceptions are films where the '54 film isn't in continuity.
** Everybody knows that Film/{{Gamera}} is one of Godzilla's most famous enemies. Except he comes from a completely separate series of {{Kaiju}} movies made by a different company than the Godzilla movies. He is a famous ''rival'', but it's in the sense of DuelingWorks.
** Everybody knows that Film/{{Gamera}} is one of Godzilla's most famous enemies. Except he comes from a completely separate series of {{Kaiju}} movies made by a different company than the Godzilla movies. He is a famous ''rival'', but it's in the sense of DuelingWorks.
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* ''Film/SaturdayNightFever'': Because of [[DiscoSucks disco's general reputation]] in pop culture (at least until the 21st century), most people know this movie only as, "that goofy comedy where Creator/JohnTravolta dances." If you actually ''watch'' the movie, you'd know that [[UnbuiltTrope nothing could possibly be further from the truth]]. His character Tony Manero's life is portrayed as violent, shallow and ultimately pointless and the film features dramatic scenes and themes such as racism, rape, and implied suicide.
