John Masouri, author and journalist reviews the film in Echoes Magazine in May 2011: "Ms. Anderson’s film doesn’t consist
of the usual parade of archive footage and talking heads but revolves around
priceless, early footage of the Wailers she shot in Jamaica during 1973, when
Peter Tosh and Bunny Livingston were still in the group and Marley had just
delivered the groundbreaking Catch A Fire album to Island Records. To watch all
three Wailers frolic in the waters of Cane River Falls or rehearse at 56 Hope
Road prior to them visiting England for their first-ever overseas’ tour is to
witness reggae history at a crucial point in its development. It’s a revelation
in truth – one of immense interest to Marley fans and anyone else sharing a
love of Jamaican music and the cultural heritage from which it springs since
we’re treated to plenty of historical input, as well as a fabulous soundtrack
and previously unseen footage. (...) Essentially, her film should have appeared
just as he began to take roots reggae music international. Its impact would
have been sensational, confirming both of them as major talents in their
respective fields. Instead, Esther’s talents would go largely unheralded, and
an entire generation of Marley fans will be denied the most personal and
intimate glimpse of him ever seen, or at least until now. The finished version
of her film has been made in collaboration with Gian Godoy, and weaves the
original seventies’ footage into a cinematic self-portrait inspired by the work
of filmmaker Robert Bresson and the Mexican artist Frida Khalo."
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