So the surface-layer answer is that in the same way that pre-Code Hollywood movies portray behaviors, attitudes, and realities that would functionally vanish from American cinema for the next thirty years at minimum, film noir is where I have similarly discovered characters, subjects, and themes that I didn't think were being—could be—explored on film at the time when they were made.

Yes, I see the continuity in terms of exploring "transgressive" topics; I suppose what my brain's idly fretting at is the differences (notably in mood) that come with both the changing times and the Code restrictions.

I think it would be simplistic and overstating the case to claim that you got a lot of movies about sex and crime and heroes who were fast-talking hustlers because that's what everyone was living with on a day-to-day basis,

Parenthetical: I think you'd enjoy LaSalle on why the fast-talking hustler became one of the new modes of male hero at this point.

with the explicitly political showstopper "Remember My Forgotten Man.

Which is, in a way, an optimistic gesture of sorts -- I mean, despite the sense that the institutions are broken, there's sometimes the idea that reform could be possible, if you crusade enough, or find the right person in office, or even make the right outrage-inspiring film.

(This is me thinking aloud here, not producing considered opinions.)

I can give specific examples if you would like; I'm trying to avoid accidentally publishing a monograph here.

*starry eyes* I would love examples (and monographs) should you have time/energy/inclination. My noir knowledge is very patchy.