I have a little problem in choosing the element that comprehends such factors as obsession, uncertainty of identity, dream-like atmosphere, being face to face with a big uncertainty such as what is the secret beyond the door or in the corridor of mirrors.
I have a little problem in the fatalism department too.
Noirness to me resides in some features that I may have difficulty allocating to the Meter's elements of alienation and fatalism.
Voice in the Wind is a tremendous noir where I should perhaps attempt an application to see if the categories, as I see them, capture the ways in which the noirness was fashioned. Going by memory, the aural plays a part in that film. There is this regular fog horn sounding that's ominous and ticking down the time and suggesting ever-present danger. There is fate separating the lovers and human attempts to overcome them and re-unite. There are the swirling waves at the outset, and that represents uncontrolled and violent forces that are at one and the same time predetermined by Nature and random as understood by human beings. There is darkness and fog, like a shroud. Then there is the character played by Naish, a kind of negative force at work. The whole beginning shows another negative force in the Nazis. Loss of memory I suppose comes under the alienation heading. This movie has a strong clash of forces. And then there is the treatment of the creative energies of the pianist, its suppression and what that causes, and its bubbling back in fragments.
It seems that for a movie like this or "The Lost Moment" or "Letter from an Unknown Woman" we must place these kinds of elements into alienated protagonist, fatalism, mise-en-scene to produce alienation,