I'm curious to see if Jason Ney, one of the folks I recruited as a writer for the NC e-zine so many years ago, will cover STREET OF CHANCE and "The Black Curtain" in the essay about "amnesia noir" that he's preparing for a future edition of that publication. Clearly his essay would be incomplete without it, though I don't know how possible it is for any "noir scholar" to track down all the later "TV noir" variants of Woolrich's tales of delusion and "dissociative fuge" listed here. Even someone as wide-ranging as Tony D'Ambra didn't capture them all in his listing about them (though he mentions some interesting variants that remind us of how "psychological" noir really was in the 40s):
On Twitter, Eddie suggested that the five most "Woolrichian" films are THE CHASE, DEADLINE AT DAWN, THE GUILTY, THE WINDOW and NO MAN OF HER OWN. This is clearly another example of Eddie playing to his "base," who remain mostly unattuned to the notion of "TV noir" and how its power of compression can sometimes make for a significantly more intense noir experience. Efforts like "The Black Curtain" and "Four O'Clock" are good examples of this, and we can extend it to some of the 30-minute versions, such as the Alfred Hitchcock Presents! episodes such as "Post Mortem," which is twisty as all get-out and has the added benefit of featuring Joanna Moore in a bathtub.