If Oprah taught us anything, it’s that we’re all the heroes of our own narrative and entitled to speak our “Truth.”

So let’s give Louisiana’s Robertson clan, who brought camo, duck calls, huntin’ and fishin’ and Z.Z. Top beards into vogue during the run of their sometimes controversial 2012-2017 TV “reality” series, a movie to spin their own origin myth.

It’s hard to overstate the impact this rowdy crew of “redneck millionaires” and swamp s—kickers had on pop culture — at least for a spell. Fans tuned in each week to a white Southern Protestant family’s “Beverly Hillbillies” nouveau riche cavorting with cash, with its patriarch’s duck call and Duck Commander brand the source of their wealth

The show had its critics, especially when that patriarch, Phil Robertson, let his “traditional” Southern Christian conservative beliefs get out off camera — homophobia and patronizing racism included. That didn’t get the show canceled, but it made the decision easier to wrap it up and usher them more or less off the air in 2017.

“The Blind” lets Phil and matriarch Kay tell their stories — mostly Phil’s — as related in a mid-life chat held with a friend in a duck blind, years before TV entered the picture.

It’s a fictionalized, family-authorized “true story” that’s equal parts “Where the Crawdads Sing” and classic Christian redemption story of the “Sergeant York/Apostle” variety.

The film, which ends with a post-sermon homily by Robertson himself, let’s us see the irresponsible, selfish, childish hellion he was before alcoholic rages and the near end of his marriage led him to Jesus.

Movie versions notwithstanding, this is a classic narrative of white Southern culture and remains wildly attractive to people with hard lives who recognize the turning point faith might have offered them and other “lost souls” they know.

The film, a choppy, sometimes amateurish affair that stumbles into as many questions as it answers, lets the Robertsons have it both ways. It establishes Phil’s s—kicker bonafides, which is a vital part of the family brand, and ties his success in life to his Baptism, also a big part of the family brand.

There was a lot of talk about the “fake” nature of reality TV when this series was at its peak, with every week serving up a “Dog the Bounty Hunter,” “Honey Boo Boo” or “Duck Dynasty” “what they’re REALLY like off camera” scandal. So one can’t vouch for the veracity of the Robertson family lore related here.

But here’s what they, or the screenwriters and the actors playing younger versions of them, tell us happened.

Black-beared Phil (Aron von Adrian) relates to a friend the hardscrabble life he (Ronan Carroll plays him as a tween, Matthew Erik White plays Phil as a teen) and his siblings endured, daddy “away on a job” (oil rigs in the Gulf), mom (Kerry Knuppe), stressed, broke and furiously losing her grasp of reality in their dire situation.

We see how Phil met the local grocery store owner’s daughter Kay (Scarlett Abinante and Brielle Robinard play her as a tween and teen), the “woman I was gonna marry,” zeroing in on her lack of judgment about their different stations in life and her kind contribution of groceries to the starving Robertsons.

There’s an account of Phil’s athletic prowess, which got him into Louisiana Tech, that seems only slightly exaggerated. No, he probably didn’t tell future Hall of Famer Terry Bradshaw “It’s your turn” when he dropped out off the team because “It was huntin’ season,” and he’d married young Kay and started a family.

Years pass, jobs change, and taking ownership of a bar does nothing to help Phil’s yearning for self-employed/self-sufficient “freedom” and indifferent parenting.

The narrative shifts points of view every so often as we see the years and trials caused by Phil’s refusal to stick to school teaching, preferring a life of fishing and hunting, his taking up smoking and drinking thanks to a school administrator buddy (Connor Tillman) and Kay’s struggles with this irresponsible absentee lout who got violent any time his drinking and shiftlessness were brought up.

And then there’s the preacher (John Ales) who gives Kay a lifeline, and eventually reaches out to Phil when he hits rock bottom, as such stories ordain that he must.

The script skips forward in leaps and bounds, leans too heavily on Phil’s voice-over narration, misses some touching moments and fails to move us in others.

The acting is indifferent, the production values single-wide/swamp skiff/wrecked pickup cheap, with a score built on plaintive violin solos and cut-rate covers of pop hits from a couple of eras, with I think Billy Gibbsons covering his “La Grange” for a version for use in the film’s 1970s scenes.

A cynic might note that given Phil Robertson’s unenlightened attitudes on race, the script made sure to get Black folks into two scenes.

And the whole religious part of the Robertsons” “Family, Faith and Ducks” creed reminds one that “Patriotism is the last refuge of a scoundrel” and “Religion is the hustlers’ last con.”

Whatever potential it had, the film just isn’t very good, with or without fact checking. That redemption story arc works for a reason. Done right, it touches people. Director Andreww Hyatt, who did the Caivezel “Paul, Apostle of Christ” picture a couple of years back, can’t make this version work and the script’s humorless, emotionally flat treatment of the material smothers “The Blind” in the crib.

But Robertson clan fans know about it, as a packed matinee showing I caught in rural Florida proved, and a rural Virginia’s ticket seller confirmed by mentioning to me that I could have any seat I wanted at their first “Creator” showing, because “everybody here’s getting tickets for ‘The Blind.'”

And that fanbase, showing up in beards and camo, can’t get enough of whatever the Robertsons are still selling.

Rating: PG-13, violence, smoking, profanity and duck shooting.

Cast: Aron von Adrian, Amelia Eve, Matthew Erik White, Brielle Robillard, Connor Tillman and John Ales and Phil Robertson.

Credits. Directed by Andrew Hyatt, scripted by Andrew Hyatt and Stephanie Katz. A Tread Lively release.

Running timer: 1:48