O Bispo Misterioso

I recently learned that Willard Huntington Wright aka S.S. Van Dine the author of the Philo Vance mysteries sold the various screen rights to his stories one at a time to the various studios who would pay for them. It's the reason that Paramount, MGM, Warner Brothers and later the B independent Producer's Releasing Corporation all had a hand in the series and we have so many Philos to compare styles with.

Basil Rathbone takes his turn at Philo and the Philo he creates isn't too much different from Sherlock Holmes. He's got no Watson to be his scribe and record his genius, but otherwise he's the same clever fellow who found out the secret of that hound of the Baskervilles, etc.

S.S. Van Dine did create a dumb flatfoot of a police sergeant Heath for Vance to constantly show up. At Paramount and later at Warner Brothers it was Eugene Palette, here we have James Donlon who even the maid puts down regularly. I'm not sure what Heath is there for because the District Attorney just calls in Vance for help when there's an interesting case.

Here we have the discovery of a dead body found on an archery field with an arrow through him. Of course the minute Vance gets there he deduces all is not as it appears.

I will say this, the murderer here was a surprise to me and even more important four people die in this film, but only the first murder was a planned one. The others happened because of some unforeseen circumstances our culprit didn't see coming.

That Philo, he's a regular Sherlock Holmes when it comes to solving these murders.

S. S. Van Dine's socialite detective is brought to film for the third time - this time having Basil Rathbone play Philo Vance. While I will not argue with some of the critical assertions that the film is static, stationary, and decidedly creaky, not too mention very far-fetched and predictable, The Bishop Murder Case was made in 1930 when sound was just coming into its own. That is very evident in this film as much of the dialog is hard to hear and comprehend. The stationary microphone was used throughout with director Nick Grinde using lots of expansive scenes with the actors standing around the screened microphone as was the case for sound pictures then. That being said, the film is a pretty decent detective mystery for its time. Rathbone makes an affable Vance. His character is given little depth, however. The mystery, while not entirely and sufficiently explained to me has some things going for it with red herrings involving chess pieces, archery, Ibsen plays, and murders emulating nursery rhymes of a kind. While Grinde directs with the limitations at hand, I did like some of his wide shots. The balcony of the building scene when the professor discovers a man killed by an arrow looked quite impressive, and you can see some wide shots that most definitely mirror German film expressionism of the 1920s with some large, long windows shot in the backdrops of several scenes. All the actors are competent with some real nice character turns by the likes of Charles Quartermaine as a chess expert, George F. Marion as a hunchbacked pseudo-intellectual, James Donlan as a police sergeant(giving the film some of its much needed light moments), and Roland Young, Cosmo Topper himself, turning in a sly, witty performance as a possible suspect. The script is unfortunately riddled with too much ambiguity to make any real sense, but when all is said and done, The Bishop Murder case is mildly entertaining - again making consideration for the time it was made.

When you consider that sound had only come in a couple of years before THE BISHOP MURDER CASE, the fact that the film still has a soundtrack that needs restoration is no surprise. But I did manage to see a good print of the film on TCM and the gleaming B&W photography belied the fact that this was made in 1930.

But my sole purpose for watching was to see what BASIL RATHBONE looked like in an early detective role as Philo Vance. The mystery itself seemed a lot like an Agatha Christie whodunit because the murders were staged by a clever killer who just wasn't smart enough to outwit Philo Vance. The final revelation involves a glass of wine with poison in it ("the vessel with the pessel" film that Rathbone did with Danny Kaye comes to mind here). Rathbone's cleverness and manner of solving the crime is reminiscent of the way he played Sherlock Holmes so well in all those Sherlock films.

He also had a crisp delivery that was lacking in the other players. Only ROLAND YOUNG managed to sound as if silent films were a thing of the past. The others were clearly still in the silent mode of acting which makes Rathbone's performance even more remarkable.

Not a great mystery by any means and the sets, despite some fine photography, are on the primitive side--but addicts of detective stories should enjoy this one.

Basil Rathbone makes a good Philo Vance in this murder mystery involving nursery rhymes. It's a forerunner of his great portrayal of Sherlock Holmes later in his career. He even uses his powers of observation to deduce that the sergeant (James Donlan) wrote a check that afternoon, soon has a date with a woman, etc., much the same way Holmes did, continually astounding Dr. Watson. But the comedy Donlan provides - and he's the only comic relief in the film - is on an infantile level. When he sees Rathbone for the first time, he says "I've solved this case, Mr. Vance. It's a murder." The script is really less than lacking in the humor department. On the other hand, all the other characters do not behave as stupid, and are believable in their roles. I loved the interesting faces and characterizations of George F. Marion and Charles Quartermaine. And there is one lovely photographed scene when Leila Hyams is sitting at a desk with a triple mirror when a sinister hand opens the door. You see her terrified face from four different angles at once, and it's a stunning effect.

This is the type of mystery that is virtually impossible to figure out. You have to go with the flow and watch the events unfold until the end when they are explained. There are lots of red herrings along the way, so I found myself switching from one suspect to another as the probable murderer. It was fun.

This film is the 3rd of the Philo Vance mysteries to be filmed. The first two, Canary and Greene (filmed in 1929) were pretty hard going. They starred William Powell and he would return to star in the Benson Murder case and the best of the Vance series, The Kennel Murder Case. This one, starring Basil Rathbone is a step above the first two but it is still a static film as were many of that era......transitioning to sound was an awkward time for the movies and people talked, and talked, and talked, ad infinitum. Rathbone, a very attractive, suave actor fits the role well and he plays Vance as a little less of the high-brow, somewhat obnoxious character that was portrayed in VanDine's books. The mystery is another one of those typical Philo Vance puzzlers which never turn out as you thought they might but that is the fun of it all. It's interesting to see Roland Young in a role that is different from his usual movie persona. James Donlan, as Sgt. Heath is very irritating....nobody is that stupid and you wonder how he became a policeman, let alone a sergeant. I much prefer Eugene Palette from the William Powell/Vance films in that role. The rest of the supporting cast is adequate. You probably have to be a Vance devotee and a fan of early sound pictures to appreciate this film. Being both, I enjoyed it but would recommend The Kennel Murder Case for an introduction to Philo Vance. The series hit its stride with that film and then went downhill from there. Also, see The Canary Murder Case for historical film value as it was the last film made by the amazing Louise Brooks before she went on to cinema history in Germany. But, have fun with this movie...it is worth a look if you are a fan of the genre.