3.5 out of 5.0 stars
Biopics have been a common genre in the world of Hollywood over the past few years. The trend now continues with “Springsteen: Deliver Me from Nowhere,” which was released on Oct. 24. Based on the book, “Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska” by Warren Zanes, a new perspective of Springsteen was shared. Director Scott Cooper created a successful movie sharing the intimate aspects of songwriting aside from certain downfalls in timing.
The movie follows Springsteen post his tour for his 1980 album “The River.” He seems to be struggling with his growing stardom as moments of sadness and memories of his past resurface, and he chooses to channel it through his music. Dealing with depression and an alcoholic, abusive father in his childhood took a noticeable toll on his life. He looks to struggle with these memories of the past while writing his album “Nebraska.”
Jeremy Allen White’s embodiment of the legendary Bruce Springsteen was executed better than expected. This came as a shock due to the controversy around the casting choice in 2024 when it was announced. The lack of resemblance between the two was a big concern to viewers. However, his acting throughout the film made up for the difference.
With biopics about musicians, the question of who viewers will hear on the soundtrack becomes a question. White’s vocal performance shined bright in a scene when Springsteen was recording the hit single, “Born in the U.S.A.” At times, it was difficult to tell if a recording playing was White or Springsteen. His ability to sing similarly to Springsteen came as a surprise.
Like in his “The Bear” scenes with powerful emotions on screen, White did not lack intensity in this project. Feelings of deep sadness or strong frustration were clearly articulated throughout the movie. Near the end of the movie, White portrayed these emotions very strongly when having an intimate conversation with Bruce Springsteen’s father, Douglas Springsteen (Stephen Graham).
The cinematography by Masanobu Takayanagi was quite memorable. Scenes were often moving with the characters naturally, giving into the perspective of the audience, feeling like they were there as well. Scenes that were placed in New York City had a sense of rustle and bustle, which was easy to follow with the camera placement.
The color grading done by Takayanagi was perfect as well. While scenes would go to flashbacks of Springsteen’s childhood, there was a black and white preset compared to present moments. As Springsteen slowly saw himself becoming more like his father, the memories of his younger self turned into color. This artistic choice conveyed this metaphor, but also was aesthetically pleasing.
While the movie isn’t a comedy, Paul Walter Hauser brought unexpected laughter to viewers. Hauser plays Mike Batlan with a riveting performance. Like many other movies he is in, his comedic timing is impeccable. Even though he didn’t have many lines, each one was acted out with precision. Even without lines in certain scenes, his body language brought laughter all throughout the theater.
While there are many strong parts to this movie, the plot moved by very slowly. Certain scenes felt to go a tad longer than they should have, specifically parts where his manager, Jon Landau (Jeremy Strong) was talking with his wife (Grace Gummer) about Springsteen. These moments felt out of place and didn’t seem to belong in the film. The last 20 minutes had the most sustenance, which could have been equally spread throughout the movie instead.
Ultimately, many elements of this movie were successful, but the plot’s tempo hurt its potential achievement. The film showed a new side to Springsteen’s personal story and things he struggled with in his childhood, but also who he was as he grew into the international rockstar he is today.
