Scripted by committee, performed in a nearly-indecipherable Jamaican patois and overseen by his legacy-protecting son Ziggy Marley, you knew the Bob Marley biopic “One Love” was going to have its problems and fall short of the mark in some important ways.

Hell, it points us towards a climactic concert and then ends — abruptly — just as that show is cranking up.

And if Paramount had thought “Bob Marley: One Love” was a triumph, they’d have released it during awards season and pushed to make it an Oscar contender.

But every movie is no more or less than what you, the viewer, take into it. And if this isn’t the musical bio pic we would have hoped this truly larger than life figure deserved, it is perfectly serviceable. The performances ensure that there’s a charismatic, recognizably-human icon at its center, flawed and passionate and downright messianic at times.

And Kingsley Ben-Adir‘s performance in the title role towers above the film surrounding him, as does Lashana Lynch‘s driven, layered turn as Bob’s soulmate, backup singer and conscience — Rita Marley.

Yes, that’s producer Ziggy Marley’s sanitizing influence on the film showing. When Dad had more illegitimate children than those born in or adopted into marriage, you could see why a musician-son would want to “supervise” the way Dad is depicted.

The misshapen script that “King Richard” director Reinaldo Marcus Green wrestles with — he is one of four credited screenwriters — bounces around the Jamaica torn by political strife in the mid-’70s, back to Bob’s childhood and memories of his mother and the white colonialist father he never knew, and into the superstardom that had him vowing to use his popularity to bring unity to Jamaica.

Oh, and the creation of his seminal LP “Exodus” is touched on, as is his fervent desire, despite management’s efforts to cash in with richer audienes, to perform in Africa.

Ben-Adir sometimes sings and picks out tunes, the origins of “Exodus,” “Three Little Birds” (“Don’t Worry about a Thing”), etc., and sometimes lip-syncs to Marley’s distinctive Rastafarian reggae wail.

He utterly masters the physicality of the man, a lithe, athletic Rastafarian ganga smoker who sought God in daily life throught music and grooved to a rhythm all his own.

The funniest line in the film speaks to that most musical English patois, Jamaican, which is both understandable and indecipherable and in need of subtitles much of the time.

“I’m sorry, say again?”

Ben-Adir and Lynch have no trouble getting across the meaning of their scenes — arguments, debates, accusations and professions of love. But a lot of the words are lost much of the time.

“Sometimes, da messenger become de message,” Rita tells him, and considering how popular he was, far and wide, by the moment of his untimely death at 36, we get it.

All along, Bob is committed to “mekk a rekkod dot wan steenk up de place.” Not that he ever did.

Marley’s “team” is a faction of hard-driving bottom-liner Brits (James Norton) and Americans (Michael Gandolfini) and a trusted Jamaican road manager who might be bribable (Anthony Welsh).

Major names from his story — early bandmates, etc. — are given short shrift. Some of the rockers who flocked to him — Jagger and Joe Strummer among them — are glimpsed.

It’s a film of compromises, with many of those working against giving us a complete portrait of the man beyond the legend. But it’s also immersive, letting us see the ferment that created him, the Rastafarianism that shaped his worldview and the flawed people who supported him and were supported by him.

And through all this messiness, something like the man emerges, the music endures — we see songs born — and a true fan is sure to find the pearls to cling to amidst everything that gets lost in debates and outright historical revisionism.

Lynch (“The Woman King”) is a marvel and Ben-Adir (“One Night in Miami”) gives a committed, career-defining performance at the heart of this sometimes stumbling musical maelstrom.

For some of us, that’s going to be enough. Because while a great Bob Marley documentary is already out there, this may be the one time a big studio picture about his life and music is attempted. Even if it falls short of hopes, it’s still worth taking in, if only for the memories — fond and emotional — his name and his music still engender.

Rating: PG-13 for violence, marijuana use and smoking throughout and some profanity.

Cast: Kingsley Ben-Adir, Lashana Lynch, James Norton, Anthony Welsh, Michael Gandolfini, Quan-Dajai Henriques and Nia Ashi.

Credits: Directed by Reinaldo Marcus Green, scripted by Terrence Winter, Frank E. Flowers, Zach Baylin and Reinaldo Marcus Green. A Paramount release.

Running time: 1:44