The noir-o-meter also shows us gradations for clusters of the noir elements related to sexuality, violence, and alienation--those often are closely balanced, but the more extreme/stylized subgenres will often tip markedly away from that. Alienation is present, but it's swamped and overshadowed by sex and violence: it often only accounts for ~20% of the elements that define these qualities in the system. That's certainly the case for something like THE WHIP AND THE BODY, which lurches past noir conventions in search of something more primally obsessive.
Films that push into madness are pushing beyond certain boundary zones of classic noir, which is why they've usually been classified as horror films. That's the case for AN ANGEL FOR SATAN, despite it being in B&W. It is "gothic-horror-noir" and quite probably in just that order. The problem for it in a noir context is that Barbara Steele is just too iconically connected with the horror genre for her presence not to destabilize the efforts of any film to remain "realistic" enough to be completely credible in the context of "noir."