The Noir-o-Meter clearly supports your assertion that THE HOUSE ON TELEGRAPH HILL is noir: it scores a pretty robust 119 out of 200 (5.95 or 6.0 out of 10). It is definitely a "melo-noir," scoring a melo-rate of 129, comfortably above the overall average of 112.
As for Eddie, we do have to give him credit for showing many "melo-noirs" despite the inherent bias toward the hard-boiled that was on display in DARK CITY and in some of his DVD commentaries. Those of us who were weaned on the early materials written about film noir did have a blind spot when it came to "women in distress" films that stemmed from the way these things were characterized in the 1980s. One hopes that most of those folk will reconsider after reading your essay.
This is as good a place as any to provide an update re the Noir-o-Meter with respect to the film list you supplied where the movie has both a femme fatale (FF) and a woman in distress (WID). The distribution chart only partially affirms that these types of films tend towards "melo noir." Policiers have a high preponderance of plots with both FFs and WIDs. These films still tend toward the hard-boiled.
Here's the chart for 18 of the 25 films on your list:
So it seems that sub-genre may be more of a determinant in where the film lands in the "hard-boiled-melo continuum" than the presence of both FFs and WIDs. Sometimes these characters are more plot instruments than fully fleshed-out people; when that's the case, you will find some instances of FF/WID films that grade out into the "hard-boiled" region.
There's a bit more on this at the Noir of the Week blog.
FFs and WIDs in the Same Film--A Noir-o-Meter Distribution...