With the subtly different tones at play in the wall, I might try making three new layers from rectangular selections of the wall (each one wide but not higher than needed to cover the molding) from immediately above or below the molding for each of the areas of molding in play: two on the left (one each for the areas in light and in shadow) and the other on the right.
Then, after moving each selection to roughly cover its part of the molding, work each layer in succession as might be necessary with masks; dodging and burning (with clipped 50% gray layers and mode soft light, with a low opacity brush, perhaps in flow less than 100%); and maybe a curve with a slight lightening or darkening. I believe that these adjustment will provide a lot of options to get the molding convincingly hidden.
At the end there might be needed some subtle cloning to have the work adjacent to the figures match their contours well.