In less-than-fun ‘Springsteen: Deliver Me From Nowhere,’ a brooding Boss goes soul-plumbing

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Scott Cooper, the writer and director of the new film about Bruce Springsteen, wasn’t interested in making a typical music biopic. Instead of focusing on just the hits and highlights, he’s created a more personal look at the artist, similar in style to his acclaimed 2009 film, ‘Crazy Heart,’ which explored the life of a country singer.

The documentary “Deliver Me From Nowhere” isn’t a comprehensive biography of Bruce Springsteen, nor does it highlight his most famous songs. Instead, based on Warren Zanes’ 2023 book, the film explores a thoughtful and introspective time in Springsteen’s life – the period when he confronted personal struggles and created the songs for his 1982 album, “Nebraska.”

Jeremy Allen White, known for “The Bear,” transforms into Bruce Springsteen through careful costuming – leather jackets and flannels – and a deliberately styled appearance. Like most music biopics, the film asks viewers to accept a representation rather than a perfect imitation. While White doesn’t look exactly like Springsteen, he embodies the feeling of the star, capturing Springsteen’s intense stare and vocal style, and infusing the performance with his own emotional depth.

Cooper aims to explore the creative process—how deeply personal expression, like Bruce Springsteen’s album “Nebraska,” can be both isolating and ultimately connect with everyone—drawing on ideas from Zane’s book.

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In a new interview, Jeremy Allen White, known for his role in “The Bear” and the upcoming Bruce Springsteen movie, discusses how he prepared for the part and his personal relationship with Springsteen’s music.

In late 1981, Bruce retreated to a rented house in Colts Neck, New Jersey, after finishing a tour. He’s finding it hard to adjust to the sudden quiet, which feels overwhelming. He tries to relax by going to the Stone Pony, a local rock club, and starting a casual relationship with a fan named Faye. However, he’s still troubled by his upbringing, particularly his difficult relationship with his alcoholic and emotionally distant father and his complex, yet loving, relationship with his mother.

Cooper portrays Springsteen’s inner turmoil and creative process by weaving in black-and-white memories of his childhood, scenes of him revisiting familiar places in a classic car, and sweet moments of Bruce and Faye with their daughter on the boardwalk. However, the film occasionally falls into predictable patterns when depicting the songwriting process – a challenge most music biopics struggle to overcome.

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The songs on “Nebraska” arose from a blend of Bruce Springsteen’s memories, imagination, and experiences with hardship. He recorded them simply, in his bedroom, using a four-track recorder obtained from his technician, Mike Batlan (played by Paul Walter Hauser), and then mixed the sound with an Echoplex and an old, water-damaged boombox.

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The most compelling sections of “Deliver Me From Nowhere” focus on Springsteen’s creative process. It’s fascinating to watch him blend personal memories with a uniquely American sense of darkness, resulting in a deliberately lo-fi, atmospheric sound – like a distorted cassette tape. He’s insistent on keeping it that way, much to the frustration of his engineer, Chuck Plotkin (played by Marc Maron), and his patient manager, Jon Landau (Jeremy Strong).

Honestly, for me, a huge part of this movie is all about Landau. He’s a real unsung hero – it’s a tribute to the people who quietly support artists and their vision without needing the spotlight. Cooper really shows how Landau shielded Bruce, giving him the space to create, and then fought to make sure his music came out exactly as he intended, even when the record company disagreed. It’s a fascinating look at that behind-the-scenes dynamic.

The film feels raw and genuine, thanks to the handheld camerawork of Masanobu Takayanagi. He brilliantly captures the energy of a live rock concert – the lights, the sweat, the chaos – alongside quiet, intimate scenes and a unique, slightly quirky American landscape. Jeremiah Fraites’ music complements the existing songs perfectly.

“Deliver Me From Nowhere” is a well-considered look at creativity, but it falters towards the finish. The film drifts into a somber portrayal of Springsteen’s struggles and doesn’t recover, leaving it feeling directionless.

Cooper avoids the typical, grand rockumentary clichés, opting for smaller, more intimate moments like a simple hug or the E Street Band casually rehearsing “Born to Run.” The film feels like a thoughtful, subdued reflection rather than a bombastic spectacle. While it doesn’t fully hit the mark, it’s a compelling look at how we portray rock stars in film and a sincere effort to understand their creative process.

Katie Walsh is a Tribune News Service film critic.

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2025-10-23 13:35