Bob Marley: One Love

In a whirlwind of political tension, Bob Marley: One Love catapults viewers into the heart of Jamaica’s tumultuous era, focusing on the pivotal years of 1976 through 1978. Actor Kingsley Ben-Adir portrays the reggae legend. Moments of adult reflection give way to a few scattered flashbacks to his teen (Quan-Dajai Henriques) and childhood (Nolan Collignon) years. Against the backdrop of civil unrest, Marley’s relentless pursuit of unity through his music takes center stage, driving the narrative of this biopic. From captivating musical performances to the release of his iconic album Exodus, the film paints a portrait of Marley’s resilience amidst both societal and personal turmoil, including the strains on his marriage to his wife Rita, portrayed with a fiery intensity by Lashana Lynch.

While it offers solid music and a few good concert scenes, it falls short of providing a deeper understanding of what drove the man. This biography skims over the entirety of the artist’s early career. The remarkable ascent from streetfighter to Jamaica’s biggest star is arguably the most astounding part of his life. Instead, it commences when Bob Marley was already well-established. During this time, Jamaica was engulfed in political upheaval. Conflict was brewing between the left-wing People’s National Party (PNP) of Prime Minister Michael Manley and the right-wing Jamaica Labour Party (JLP) led by Edward Seaga. Surprisingly, the movie fails to delve into these nuances, reducing them to two random factions.

Poverty, unemployment, and crime are escalating, and tensions are exacerbated. Marley attempted to maintain neutrality and unite the masses amidst the turmoil. The “Smile Jamaica Concert” is an upcoming free event to solidify people and defuse the situation. However, two days before the show, Marley, Rita, and several other members of his band are shot in an assassination attempt. Luckily, everyone survives, and they perform as planned. Afterward, Rita and the kids go to live with his mother in Wilmington, Delaware. Meanwhile, Marley retreats to London. Why Rita didn’t join her husband is not explained. There, Marley records the iconic album Exodus, which contains “Jamming,” “Three Little Birds,” and “One Love.”

The songs serve as a highlight, with memorable performances and creative presentations. Nonetheless, the film fails to elucidate Marley’s legacy beyond skimming the surface as a celebratory homage. The account exhibits a respectful dedication to portraying the singer in the most favorable manner possible. It culminates in 1978 when Marley returned to Jamaica for the “One Love Peace Concert,” promoting unity amid social unease. On the plus side, the narrative refrains from resorting to the standard tropes of a third act, when the subject traditionally succumbs to the pitfalls of sex, drugs, or fame. Surprisingly, there are only a few perfunctory nods to cannabis use.

This is pure hagiography heavily influenced by the Marley family’s involvement. His widow, Rita, son Ziggy, and daughter Cedella are among the producers. Director Reinaldo Marcus Green (Joe Bell, King Richard) co-wrote the screenplay with Terence Winter (The Wolf of Wall Street), Frank E. Flowers (Haven), and Zach Baylin (King Richard). They present a superficial portrait with no interest in filling out the particulars. Bob and Rita’s marriage was fraught with affairs on both sides. A couple arguments allude to these infidelities, but the specifics are left ambiguous. Offhand allusions are made that his wife brought him into the Rastafarian movement, but no enlightenment is given to that religion or its beliefs. I was particularly amused by the part acknowledging the burgeoning punk scene in London. Marley and his mates are hanging out in a club surrounded by slam dancers at a gig where The Clash performs, although the band is not identified. References to his love of soccer and his skin cancer diagnosis are also made. An ending text informs us he died in 1981.

The chronicle’s most exciting and vibrant part comes at the end credits. The archived footage of the actual man is far more animated, dynamic, and idiosyncratic than anything presented in the picture. Actor Kingsley Ben-Adir channels the cadence of the man but not his soul. Wait for this to appear on streaming. You’ll benefit from watching with captions. The Jamaican patois is so thick I couldn’t understand much of what he said. It doesn’t matter anyway because the chronicle’s point is a glorification of its subject with enjoyable musical interludes. That comes through loud and clear.

02-20-24