The drug bazaar on Fulton Street, just around the corner from the stoop his mother rarely let him stray from, beckoned him and his friends. Harrison’s mentoring, though, is only one part of Biggie’s childhood education. It recounts childhood time spent in Jamaica, where his mother was born and where much of his family still resides, leaving largely unspoken the way that Jamaican toasting and melody slipped into his rapping. It delves into the relationship between his parents: Voletta Wallace, who has become a public face of mourning and grief, and the father he barely knew. The story that “Biggie” - directed by Emmett Malloy, and reliant upon ample ’90s videotape shot by Biggie’s childhood friend Damion (D-Roc) Butler - wants to tell is about how Christopher Wallace became Biggie Smalls, not how Biggie Smalls changed the world. For so long, Biggie has been enshrined as a legend, a deity - it unclenches your chest a bit to see him depicted as human. A little bit later, he’s goofily singing Jodeci’s “Freek’n You,” a slithery classic of ’90s R&B. The first footage you see in “Biggie” is of the rapper, then in his early 20s, shaving and joking about trying to hold tight to looking like his 18-year-old self.