Will do a noir-o-meter on this a bit later when time permits. Off the cuff rankings of the proceedings, general quality and overall "noirness" as follows (with total/average score in parens):
REAR 9, 6; EYE 6, 7 (28/7)
DARK 7, 8; CRACK 6, 7 (28/7)
TALLOS 8, 9; HYACINTH 8.5, 7 (32.5/8+)
DEC 8,6; HUMOR 7.5, 5 (27.5/6.88)
LONELY 9.5,9; 2 MRS. 5, 5.5 (29/7.25)
DORIAN 7, 6; MIRRORS 8, 8 (29.5/7.4)
LOVE ME 7, 5; YOUNG MAN 7, 7 (thanks to Ted McCord...) (26/6.5)
MIMI 5.5, 8; MICKEY 6, 7 (26.5/6.6)
BAD & 8, 5; KNIFE 6, 7 (26/6.5)
LODGER 7.5, 7; BLUEBEARD 6, 7; SCARLET 9.5, 9 (46/7.67)
RED SHOES 9.5, 5; SPECTER 5.5, 7 (27/6.75)
PEEPING 8, 9; BLOW-UP 7.5, 6 (30.5/7.6)
What the festival seems to be telling us is that it is international (non-American) noir that is showing up best both in terms of quality and freshness of material. The discriminating local (as opposed to the dedicated traveler!) would select the first Saturday, Tuesday, and portions of the second Saturday plus the closing day double-bill to see the festival strengths--which just happens to be where all of the non-American films are located.
The grades here seem to show that we have a sizable number of strong films being paired with films of lesser quality in order to complete a theme (first Friday, Monday, Tuesday, second Friday, second Saturday).
The John Decker story may get some play in the introduction to SCARLET STREET on the second Saturday matinee, but it would be more interesting to feature it a bit more prominently by making a more unusual pairing (with BRUTE FORCE, as suggested earlier). That would have added an ingredient that is MIA in this festival--hard-boiled dread. While most of us agree now that this was oversold originally as a defining ingredient in noir, it really shouldn't be this absent from a film noir festival.