This week, the vibrant and celebrated Arthur Lyons Movie Noir Pageant in Palm Springs will kick off from Thursday to Sunday, showcasing an array of cinematic gems from the iconic film noir era of the 1940s and 1950s. Attendees can look forward to experiencing an assortment of films that have not graced the big screen for decades. True to tradition, this year’s festival will also highlight the evolution of noir with a selection of neo-noir features, including the gripping 1970s crime thriller “The Associates of Eddie Coyle.”

This year marks an exciting highlight with the inclusion of a neo-neo noir masterpiece. On Sunday night, acclaimed director Guillermo Del Toro and co-screenwriter Kim Morgan will grace Palm Springs with a special presentation of their never-before-seen extended cut of the 2021 film “Nightmare Alley,” presented in stunning black-and-white. This unique screening pays homage to the classic films that will be featured throughout the weekend, creating an unforgettable cinematic experience.

“I know Guillermo is extremely excited about this event,” says Alan K. Rode, the festival’s long-time director. “He and Kim are graciously coming to spend some time introducing the film and engaging with the audience. I’m truly honored to have him here and can’t wait to present his black-and-white extended version, especially from such a renowned filmmaker. He’s treating this screening as a premiere, which adds to the excitement.”

Four years ago, Del Toro’s remake of the classic 1947 “Nightmare Alley” was initially released in color, followed by a brief theatrical run of a black-and-white version that premiered in select theaters and later on Hulu. However, after a period of dormancy, the filmmaker announced in December via a Bluesky social media post that he was working on a new black-and-white edit. “I’m remastering the black-and-white Nightmare Alley with an extended cut. Stay tuned,” he teased, tantalizing his followers with news of the expanded version that attendees in Palm Springs are eagerly anticipating.

For dedicated film noir enthusiasts, the festival promises to unveil several titles that can be considered premieres due to their long absence from public view. The film “Swell Man” (1946) will be screened using a freshly created 35mm print, marking its first theatrical showing in decades. Similarly, “Paid in Full” (1950) will be featured on Friday night with a brand-new digital print from Paramount, officially premiering at the festival. On Saturday morning, “Unmasked” will also receive its own digital theatrical premiere, rounding out a collection of newly revived obscurities that fans will savor.

If it seems like the Arthur Lyons Movie Festival is steering clear of the usual noir fare, that’s by design. Rode believes that while newcomers to the genre will appreciate the programming, the devoted audience that returns yearly to the Palm Springs Cultural Center (formerly the Camelot Theatres) each Mother’s Day weekend likely craves experiences that dive into the deeper, darker corners of the noir vault, beyond staples like “Double Indemnity” and “The Big Sleep.”

Rode emphasizes, “I’m committed to the tradition of not screening the same film in 18 years,” reflecting on the duration of his tenure since he took over programming for the festival in 2000. “This is a subconscious choice; however, film noir is truly a genre that keeps on giving.” There are countless titles that fit firmly or loosely within its scope, showcasing the richness of noir as a style. This focus on lesser-known films does not mean Rode overlooks classic titles that are celebrated among noir aficionados, which he simply hasn’t showcased in Palm Springs yet. One such title is “Act of Violence,” a Fred Zinneman film scheduled for Sunday afternoon, which has been featured multiple times at Noir City, the festival that he co-hosts with Eddie Muller for the American Cinematheque in Hollywood.

Joining Rode once again in Palm Springs is Muller, a key figure in the Film Noir Foundation and a familiar face on TCM. He will introduce several of his favorite films, including “Johnny O’Clock,” which will screen on Friday afternoon. This screening will be preceded by a book signing event where Muller will present his newly revised classic, “Dark City Dames: The Women Who Defined Film Noir,” in collaboration with Larry Edmunds Bookshop, which will handle book sales.

While many original stars of these classic films have sadly passed, Rode has made it a priority to invite family members to participate in introductions or Q&A sessions. This year, the festival will feature Rory Flynn, the daughter of Errol Flynn, who will discuss “Cry Wolf” (1947) on opening night Thursday. Additionally, Wyatt McCrea, the grandson of Joel McCrea, will be present on Saturday night to share insights about his grandfather’s illustrious career, including his role in “The Unseen” (1945).

Individual tickets for the screenings at the Palm Springs Cultural Center are priced at $16.29, which includes a processing fee of $1.79. However, there is an exception for the “Nightmare Alley” screening on closing night, where tickets are available for $32.65, inclusive of a $2.64 fee. For those looking to fully immerse themselves in the festival, a full-access pass for the entire 13-film lineup is available for $158.19. While this festival pass does not cover admission to “Nightmare Alley,” passholders can purchase tickets for that screening at half price. Advance tickets for individual movies or festival passes can be purchased through Eventbrite here.

As you explore the diverse lineup of titles screening this year, which can be viewed in detail here, one film stands out not only for its acclaim but also as a slight deviation from the typical selections: “On the Waterfront.” Rode openly acknowledges that it may not fit the classic noir mold. “Purists may debate whether this qualifies as film noir, and I personally don’t believe it does,” he admits. “However, it is undeniably one of the greatest films ever made in Hollywood. It inspired me during an elective film course I took in 1970 in New Jersey. It holds great personal significance, and I thought it would be fantastic to showcase it on the big screen.” He added that he has a few stories to share from Nehemiah Persoff, who made his film debut in the iconic taxi scene alongside Rod Steiger and Marlon Brando, adding depth to the film’s legacy.

Additionally, several films that may not traditionally be categorized as noir are included, such as the Western film “Lust for Gold,” featuring Ida Lupino and Glenn Ford. Rode is well-versed in the noir Western subgenre, having even authored a book on one of them, “Blood on the Moon.” He humorously notes, “None of the characters in ‘Lust for Gold’ are virtuous,” which solidifies its noir credentials.

Another film that crosses genres is “The Unseen,” a long-lost title that serves as a follow-up to the more famous ghost story “The Uninvited,” directed by Louis Allen and starring Ray Milland and Gail Russell. “The Unseen” takes on a more noir-inflected murder mystery, featuring Joel McCrea and Russell once again under Allen’s direction. Rode has developed a friendship with Wyatt McCrea, who will also be present to discuss his grandfather and the McCrea Ranch Foundation.

Rode expresses excitement for “Swell Man,” a forgotten film produced by Mark Hellinger during the interval between the hits “The Killers” and “Brute Force.” This film has been completely overlooked until now. “I was fortunate that Universal resolved some rights issues, allowing us to screen what I’m told is a pristine 35mm print of this rare film, penned by Richard Brooks. The story revolves around a Hemingway-esque war correspondent returning to his hometown after the war, only to reveal his true character as a complete miscreant. Who better to portray that than Sonny Tufts? His character becomes entangled with Ann Blythe, making for a unique and intriguing film experience.”

“Paid in Full,” on the other hand, has been absent from public screenings for many years. Rode expresses gratitude to Charlotte Barker, the head archivist at Paramount, for providing DCPs of both “Paid in Full” and another lesser-known film, “Unmasked,” which features Raymond Burr in a role where he blackmails and murders his way through chaos. Both of these films have not been seen in ages and promise to be a thrilling addition to the festival lineup.

Despite the allure of the other films, the main attraction of the week remains “Nightmare Alley.” Del Toro will be making his first appearance at the festival, although Morgan is no stranger to the event, having participated in prior years. “She interviewed Julie Garfield back in 2010 and has attended several times; I’ve known Kim for years and we previously collaborated on a commentary track for a ‘New York Confidential’ DVD,” Rode shares. Regarding Del Toro, “The term genius is often thrown around and possibly misused when discussing filmmakers, but in my opinion, Guillermo is as close to a genius as we have. He embodies versatility, from makeup to drawing, writing, directing, and producing, all while maintaining a profound humility and passion that is genuine. Listening to him speak is a privilege; he recently shared insights about the significance of Powell and Pressburger films during the TCM Classic Film Festival, and his eloquence was simply remarkable.”

“I often find myself pinching my arm because this festival has been ongoing for 26 years. If memory serves, my first year involved was 2002, where I sat in what was then called the Camelot Theaters, watching Nightmare Alley alongside (star) Colleen Grey, who I became friends with. Eddie Muller introduced it, and Linda Christian, the widow of Tyrone Power, walked in to sit down in the theater. Now, 23 years later, we are showcasing Del Toro’s adaptation of William Lindsay Gresham’s novel, and it feels like we’ve come full circle.”

The audience at the Cultural Center tends to be older and loyal, which is expected given the local demographics. However, this isn’t the case for every film noir festival. At Noir City, held at the Egyptian Theater in Hollywood this past March, the audience skewed younger. In a rare instance of the festival showcasing apparent classics, they screened a double bill of “Out of the Past” and Stanley Kubrick’s “The Killing,” hosted by Muller and Rode, who asked the audience to raise their hands if they hadn’t seen either film before. “I expected maybe six to ten people to raise their hands, but I’d estimate around two-thirds of the audience for each film did, which was surprising. After years of doing this, you develop assumptions that everyone has seen these films, but we’re entering a new generation of audiences for these classics,” he notes.

The appeal of these films to both young and older audiences is clear to Rode. “The reason these films serve as a bridge for contemporary audiences to classic cinema is their timeless themes. While someone in their early twenties might question the fashion choices, such as why the men wear hats or why a doctor in a maternity ward smokes a cigarette, the fundamental human themes of ambition, desire, theft, and greed remain unchanged. Our modern accessories may have evolved significantly since 1947, but human nature has not changed as much as we might think.”

When discussing definitions, Rode asserts, “I don’t view it as a genre; it’s more of a style. Like beauty, noir often lies in the eye of the beholder.” However, certain common characteristics are evident. Not every crime film from that era qualifies as noir, but there’s a compelling argument that every film noir ultimately revolves around crime.

Rode may not go as far as to say that every noir fits into the crime category, but he notes, “One hallmark of film noir is when characters knowingly engage in wrongful actions—legally, morally, or culturally—and proceed anyway. This trait is a defining characteristic of the noir style. As Arthur Lyons</b once articulated, ‘You can always tell it’s a film noir when the protagonist gets screwed over within the first five minutes, and from there, it’s a downhill spiral.’”