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MILDRED PIERCE is lit noirishly, it's based on a novel by noir favorite James Cain and Ann Blyth's character would be right at home in a film noir, but it's another woman (her mother) who is taken in by her selfish schemes and there's a lot of melodrama. It's borderline, as is LEAVE HER TO HEAVEN.

And I hardly consider The Maltese Falcon a noir at all, because although Mary Astor is a femme fatale, she doesn't lead the hero to his doom. Bogart largely stays firmly in control of the situation throughout and never falls for her tricks.