Here's a Review of Bob Marley's Song - One Love

Here’s a Review of Bob Marley’s Song – One Love – Covering a pivotal period in the late 1970s, nearing the end of the influential reggae musician’s life, “Bob Marley: One Love” grapples with the challenge of uncovering the man behind the legend. Kingsley Ben-Adir portrays Marley as he survives an assassination attempt, departs Kingston for London to rejuvenate creatively, and ultimately crafts his beloved album “Exodus.”

While Ben-Adir’s central performance exudes a likable, modest charm, director Reinaldo Marcus Green, known for “King Richard,” deviates from the typical cradle-to-grave biopic narrative approach. Despite this, the film falls short in infusing vitality into the lackluster drama.

Rather than shedding light, “One Love” idolizes.

Scheduled to debut on February 14 in the UK and US, competing with Marvel’s “Madame Web” for viewership, the film features Ben-Adir, offering some modest star power, alongside blockbuster fixture Lashana Lynch. However, Marley and his enduring songs take center stage, supported by his family serving as producers and endorsing the production.

Spanning a few years, the narrative introduces us to Bob Marley (Ben-Adir) attempting to unite politically divided Jamaica on the brink of civil war through a free concert. However, days before the event, gunmen attack his home, injuring Marley and his wife Rita (Lynch). Despite the assault, Marley proceeds with the concert, sending Rita and their children to America until tensions ease, while he heads to the UK with his band to embark on a new album.

Bob Marley, who passed away in 1981 at the age of 36, drew inspiration from this turmoil and isolation to create “Exodus,” a masterpiece praised for its lyrical directness and musical resilience. “One Love” can be interpreted as an exploration of how this charismatic, spiritual artist transformed anguish into joy and commentary, solidifying his legacy.

Captured vividly by cinematographer Robert Elswit, the biopic avoids some of the genre’s typical pitfalls. Notably, the film sidesteps prolonged introductions for Marley’s famous associates, presenting them without excessive fanfare. However, the film’s narrow focus doesn’t adhere to the conventional rise-and-fall plot structure found in many music biopics with broader scopes.

Despite these strengths, shortcomings persist. Green, one of the credited screenwriters, delves into Marley’s tumultuous past through melodramatic flashbacks, simplistically attributing the musician’s drive and haunted demeanor to his troubled upbringing.

Additionally, the film attempts to cover too much ground in its relatively short runtime, touching on Marley’s creation of “Exodus,” strained relationship with Rita, and the unintended consequences of his rising fame.

While each aspect of Marley’s life is intriguing, the film skims over details rather than delving into them, resulting in a narrative that provides colorful highlights but lacks profound insights. The mystery of how Marley produced powerful songs during challenging times remains unresolved.

Ben-Adir’s singing voice is sparingly featured, but the actor, known for portraying Malcolm X in “One Night In Miami,” adeptly embodies the iconic figure. However, despite capturing Marley’s distinctive patois, Ben-Adir struggles to fully convey the singer’s electric stage presence and otherworldly aura. The film concludes with footage of the actual Bob Marley, emphasizing the disparity and highlighting Ben-Adir’s difficulty in capturing the singer’s gentle, searching demeanor.

Lynch delivers a commanding performance as Rita, expressing love for her husband and contributing as a backup singer in his band. Unfortunately, Rita’s character remains underdeveloped, making her eventual confrontation with Marley feel oddly arbitrary. The scene’s primary purpose is to inspire Marley to write one of his enduring hits, “Redemption Song,” exemplifying the film’s frustrating dramatic simplifications.