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<\/a><\/div>\nThere are few greater albums than Exodus<\/i>. <\/p>\n
Bob Marley and the Wailer\u2019s magnum opus is a classic of more than just reggae, and there are few more inspirational music figures than Marley himself. Bob Marley: One Love<\/i> is the latest film to attempt to do justice to a music icon, but the result, like the Whitney Huston and Queen biopics before them; falls short as it goes for a family-approved, sanitized take on the legend that ultimately has nothing to say, remembering Marley as an apolitical icon as opposed to a revolutionary. Biopics are the preferred genre of Reinaldo Marcus Green \u2013 who gave us King Richard, previously Oscar nominated \u2013 but just as with that film it\u2019s a film that coasts by on the strength of the performances of its leading stars, the extremely talented Kingsley Ben-Adir and Lashana Lynch, who deserve so much better than the hackneyed, undercooked, clich\u00e9-ridden material that uses Walk Hard: A Dewey Cox Story<\/i> as an instructional manual as opposed to something to avoid.\n<\/p>\n
We open in 1976 when political strife in Jamacia almost leads to Marley\u2019s death for wanting to headline a unity concert, and after a harrowing shooting attempt he finds himself in London getting involved in the punk scene and reinventing himself as European tour artist \u2013 slowly working on the recording of Exodus<\/i>. This is a film that centres much of its main story around the recording of that album but lets the pace down by flashbacks to his early life in Jamacia, never giving the main storyline the chance to breathe before we\u2019re interrupted with an ongoing arc with his absent father, and how he met Rita, his wife.\n<\/p>\n
It’s a testament to the skills of Kingsley Ben-Adir that he\u2019s able to make Marley such a magnetic figure. The performance is a masterstroke \u2013 charismatic and he boasts enough screen presence to totally buy into the concert scenes, that are brilliantly lit by a talented crew. The lighting of these concert scenes; and then again of Jamacia and punk-era London, presented here as a dystopia, are among the film\u2019s strongest assets: technically it looks good. Vibrant, colourful and alive \u2013 Bob Marley: One Love<\/i> feels destined to propel Ben-Adir to even greater fame than before. It\u2019s just a shame that the script is so pedestrian.\n<\/p>\n
There\u2019s no tension here; yes it\u2019s a true story but there\u2019s no suspense even in the initial shooting when Marley is almost killed. It feels safe. There\u2019s no depth \u2013 the characters are thinly drawn and the Wailers are rarely given the space that they need to develop. The complexities of Marley\u2019s life just aren\u2019t featured and are glossed over, and the authenticity that the producers go for as a result, doesn\u2019t feel earned or honest. It\u2019s a watered-down, safe affair with little to shout for \u2013 a smoother pacing structure could have really helped this one but the flashbacks and the safe storyline that\u2019s unafraid to pull punches make Bob Marley: One Love<\/i> a misfire despite its good intentions. We need to be looking more at Priscilla, Elvis<\/i> and Rocketman<\/i> as examples and less at well; everything else.\n<\/p>\n<\/div>\n
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