I'm no expert, but my one quibble with your choices might be with number 11.
I think that Clifton Webb made his character a "recognizable type for the era" in a way that no one else really did in the '40s. I do suspect that given the deep roots of Victorian repression and the character's devout (if rather baroque) Catholicism, many individuals in the period, including Elliott Templeton, might have sublimated his sex drive into a whale of a case of snobbism, centering on living well (the best revenge, according to the Spanish proverb). Interestingly, Laura, this role, and Sitting Pretty seemed to solidify Clifton Webb's position at 20th Century Fox as America's favorite educated aesthete--and he didn't even have to die at the end of every movie! This was progress...of a sort."11. THE RAZOR'S EDGE (1946, dir. Edmund Goulding). Clifton Webb as the gay snob/aesthete in full flower. Maybe his Elliott Templeton doesn't have a sex life, but if he does, it certainly doesn't involve women. A recognizable type for the era."
Another character in Maugham's The Razor's Edge, MIss Keith, the gnomish secretary to the briefly glimpsed, socially prominent dragon, Princess Novemali in the story, might easily have been assumed to be a sexless (possible code for lesbian) drone. As played by Elsa Lanchester in one deft scene, she is revealed to have the fluttering heart of a romantic, accepting of a certain young man climbing through a window to speak with her. Given the fact that the youthful interloper is Tyrone Power, her understanding of his mission of mercy to give a dying Elliott a moment of peace allows her to look the other way as he purloins a copy of an invitation to a gala for the poor man. BTW, Maugham's source novel that inspired the movie allows several characters to have sex, enjoy it, and not die afterwards.