A film doesn't have to come down on the side of Fate to sustain Fate as a noir property. It can present both sides of the case, for and against Fate; or it can show that both Fate and Human Action are in play. This concurrent presentation is what happens here. Some characters are gripped by Fate. Some others have a degree of freedom from Fate. I won't go into detail. They're quite obvious.
This pervasive treatment helps tip the film into the noir category.
It is true that certain features of the Lewton-Tourneur techniques are evident (wind, movement of bushes, flickering water and light, darkness, and certain semi-religious symbols and chants), but these do not by themselves create a Lewton-unto-himself category. In this movie, they are used to emphasize fear and the unknown. These are noir elements too.