Bob Marley: One Love, 2024.
Directed by Reinaldo Marcus Green.
Starring Kingsley Ben-Adir, Lashana Lynch, Jesse Cilio, Tosin Cole, Michael Gandolfini, Nadine Marshall, James Norton, Micheal Ward, Sam Palladio, Anthony Welsh, Sundra Oakley, Umi Myers, Cornelius Grant, Alexx A-Game, Dónall Ó Héalai, Naomi Cowan, Davo, Luca Slade, Sheldon Shepherd, Nia Ashi, Stefan Wade, Anna-Share Blake, Tanner Paul, Gawaine ‘J-Summa’ Campbell, and Hector Donald Lewis.
SYNOPSIS:
Jamaican singer-songwriter Bob Marley overcomes adversity to become the most famous reggae musician in the world.
Director Reinaldo Marcus Green deserves some credit for not taking his Bob Marley biopic down the dreaded path of covering someone’s life from birth to death. However, working with screenwriters Terence Winter, Frank E. Flowers, and Zach Baylin (from a story by Terence Winter and Frank E. Flowers), Bob Marley: One Love (yes, another goofy musician biopic title that assumes viewers will have no idea who the subject is unless it’s added to the front) stumbles at finding a way into the world-famous reggae singer’s thought process and worldview beyond what the song lyrics already say, all despite a seemingly accurate and confident portrayal from Kingsley Ben-Adir.
On-screen text informs that Bob Marley came from humble beginnings while setting the stage for the 1976 civil unrest in Jamaica. Prime Minister Michael Manley had tapped Bob Marley and his band to perform at a unity concert promoting peace, with everyone hoping that such an event and sight would calm tensions that included rival gang leaders supporting different politicians and violence in the streets. Frustratingly, the filmmakers are more concerned with celebrating Bob Marley and, unfortunately so, don’t necessarily ask hard questions such as why he believed his music and lyrics could actually one day bring peace (it is apparent that his Rastafarian beliefs played a part.) Yes, his lyrics were passionate and stood for something, but the film must do more than show characters singing the songs.
To give Bob Marley: One Love credit where it’s due, the film is about Bob Marley himself coming to understand his image and what he is meant to do, but it still doesn’t feel insightful, especially when it’s bogged down by a barrage of musical performances, family drama, celebrity woes, betrayals, physical illnesses; in other words, all of the typical musician biopic clichés. Even though the filmmakers are only fixated on a small portion of the musician’s life (the late 1970s, mainly the recording of the Exodus album and relocation to London following attacks on his family’s life), it still feels as if the story is rushing through these plot points and only interested in the success and popularity aspect. There is a severe lack of really digging into Jamaican politics and the ongoing violence of the time, all in favor of groovy recording jam sessions.
Sure, they are entertaining to watch, especially since the ensemble sufficiently captures the relaxed, freewheeling vibe of the group, but it’s also strange that a biopic about achieving political unity through the power of music largely ignores politics. It’s as if the filmmakers were afraid to take this into a political direction for fear of potentially pushing away or dividing audiences, instead opting for the ups and downs of a European tour.
Now, Bob Marley does slightly lose himself from that international fame only to inevitably regain his sense of purpose, typically grounded by his loving wife Rita (Lashana Lynch), who also provides backup vocals in the band. He is unable to record the Exodus album without her, encouraging her to relocate from his mom’s home in Delaware (he sends her there for safety following the attacks on their lives and the impending threats from Bob Marley living in Jamaica is such an influential figure) to where he is staying in London. Still, the film never latches onto anything significant or compelling regarding their relationship.
There is a greater, more expensive, culturally impactful story to tell with Bob Marley: One Love. While it is to be appreciated that the filmmakers aren’t taking on too much, they also aren’t tackling enough, presumably hoping to coast off the solid performances and soulful songs that still hold up today. If nothing else, society should unite in finding this biopic mediocre.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
