Of course, the more reassuring realms of the genre are also on view here for those who prefer not to be doubly dislocated. The climax of Orson Welles' The Lady From Shanghai occurs in a hall of mirrors, appropriate indeed for its deadly, duplicitous heroine, played by a blond Rita Hayworth. Crane Wilbur's gloriously seedy The Story of Molly X (1949) surveys the glistening nether worlds of San Francisco's fleabag hotels and the women's prison at Tehachapi.
The real revelation of the fest is how, from the '50s on, television blasted noir's blackness into America's dream dens. Among the treasures unearthed are a rare Hitchcock-directed hour, Four O'Clock (1957), a fabulously sadistic tale of one of Hitch's paranoid "little men"; One Is a Wanderer (1958), a hellish half-hour inside the head of a Regular Guy going to pieces (subtly played by Fred MacMurray); and Michael Ritchie's wonderfully Byzantine TV movie The Outsider (1968), a counterculture policier complete with acid parties, go-go clubs, and a charmingly dissipated hero who's as much punching bag as private eye.