Film Noir is a film that exhibits both dark and low key lighting with corrupt themes and cynical characters. The story of "Hamlet" definitely delivers the corrupt theme and cynical characters, but Almareyda's version is a bit more film Noir due to the fantastic cinematography and the dark low key lighting and visuals it produces through out the movie.
             Almareyda's 2000 version of "Hamlet" and Zeffirelli's 1991 "Hamlet" are similar in the fact that the plot line is identical with a few updated changes to the setting of Almareyda's 2000 version to make his film more contemporary. What set these two films apart from one another are the delivery of the lines and the outstanding visual and cinematography efforts of Almareyda's film. In the 1991 version of Hamlet, the lines are delivered almost poetically and easily understood, whereas in Almareyda's version the lines are spoken with such speed and casualness that the words sometimes get lost in the deliverance.
             As I mentioned in the thesis statement, the delivery of lines had a huge impact on how both versions of the movies were viewed and understood. In some ways I felt that the delivery of the lines also helped set Almareyda's movie apart as one being more Film Noir than Zeffirelli's. In Almareyda's version the lines were delivered with a contemporary rhythm and less "dramatic" than in Zeffirelli's version. The delivery of the lines in Almareyda's film also help set a tone of coldness in the character's voices that at times were very monotone and mechanical, this only helped to highlight the bleak setting of New York City's cold weather and suffocatingly huge sky scrapers. For example, in Almareyda's version when Hamlet's Uncle Claudius turns to him to question Hamlets grief by saying," 'is sweet and commendable in your nature, Hamlet, to give these mo...