I won’t even waste time with a capsule review of Harmony Korine’s “Trash Humpers,” a mind-numbing piece of would-be provocation that I’d imagine will empty Alice Tully Hall almost as fast as if someone yelled “fire.” I guess that’s what’s happens when you have an extremely diverse selection committee that includes three current Village Voice reviewers, and one alumna of that august publication. I’d much rather write about last night’s splendid “Chandleresque,” a delightful illustrated lecture by Adrian Wooten, former head of the British Film Institute, that was a special event of the New York Film Festival. In just under two hours, he offered a detailed and illustrated (including clips as obscure as “The Falcon Takes Over”) overview of Raymond Chandler’s writing, the movies derived from them, and Chandler’s own efforts as a screenwriter, which began by collaborating with Billy Wilder on “Double Indemnity.” The two didn’t get along, but Wooten showed Chandler’s very recently discovered, seconds-long cameo from the film. Most fascinating to me were the stories about “The Blue Dahlia,” Chandler’s only original screenplay. Though he was then Hollywood’s most-highly paid screenwriter, Chandler walked out halfway through writing the script, which Paramount needed in a hurry for Alan Ladd. So they agreed to the alcoholic writer’s wacky demands that he be allowed to write at home, fully supplied with liquor, with around-the-clock nurses and secretaries to keep him going. The resultant film, which was shown  afterwards and earned Chandler an Oscar nomination, is nearly as hard to follow as “The Big Sleep,” adapted by others from a Chandler novel. “The Blue Dahlia” is still more than worth seeing (it’s on DVD) for its crackling dialogue, and its cast of memorably seamy L.A. characters. My favorite is Doris Dowling, as the very promiscuous and alcoholic wife of Ladd’s returning serviceman, who at one point practically boasts to Ladd that their young son died in a car wreck because she was smashed! Dowling shortly becomes one of the most unsympathetic and deserving murder victims in screen history. Actually, she reminded me a lot of Farley Granger’s pregnant, blackmailing and eventually murdered wife, played by Laura Elliot in “Strangers on a Train.” Chandler shares his last screenplay credit for that one, but Wooten said he quarrelled with director Alfred Hitchcock and it’s not known exactly what, if anything, Chandler contributed to the film.