THE WALLS CAME TUMBLING DOWN (1946)

Father Walsh has been troubled about an affair involving two antique Bibles and a rare da Vinci painting called The Walls of Jericho. He calls Manhattan newspaper columnist Gilbert Archer, an old friend, for advice, but when Archer arrives at the church, he finds Walsh’s sister Catherine in tears as she has just found Walsh dead in the rectory, apparently having hung himself. Archer is sure that he would not have killed himself and as the police investigate, so does Archer. The first suspicious figure is Patricia Foster who had claimed she was supposed to meet with Walsh that night to pass along greetings from old friends in San Francisco, but Archer soon catches her in a lie and she is revealed to be Laura Browning who has a family tie to the da Vinci painting. Other interested parties include Bishop Martin, who knew that Walsh was troubled; the Stokers, a married couple who are interested in the two Bibles; and Helms, a book collector. It turns out the Bibles are supposed to have clues as to the whereabouts of the painting. Another murder complicates things, as does a romantic attraction between Archer and Laura. The exhumation of a long-dead body provides a final push toward the solution to the death of Walsh. This is a solid low-key murder mystery with a good B-movie cast. The story is easy to follow and the pace is quick, with Lee Bowman providing a nice light touch as Archer; the character is likable and competent, and it's too bad that other Gilbert Archer movies didn't follow. Marguerite Chapman (Laura) is fairly bland, upstaged by old pro supporting players like George Macready, Lee Patrick, J. Edward Bromberg, Miles Mander, Edgar Buchanan, and Jonathan Hale. At least one online critic compares Bowman unfavorably to Bogart as Sam Spade, but that's hardly a valid point; Archer is nothing like Spade, even though Lee Patrick, who played Bogie's secretary in MALTESE FALCON also plays Bowman's secretary (and, of course, Archer's name is the same as Spade's dead partner). I enjoyed this as a rare example of a 40s mystery that makes no stab at all at trying to be a film noir. Pictured are Buchanan and Bowman. [YouTube/DVD]