This review contains spoilers.
Balancing newfound stardom with haunting memories of his past, Jeremy Allen White portrays singer Bruce Springsteen both on the road to fame and in the lows of his personal life. The new biopic, “Springsteen: Deliver Me From Nowhere,” follows Springsteen in the creation of the album “Nebraska” during a deeply depressive episode that fuels his inspiration.
Moving near his hometown in Colts Neck, New Jersey, Springsteen is haunted by memories of his childhood. Many scenes combine the past and present as Springsteen revisits familiar sites and faces at home in his attempt to work through his mental turmoil.
In black and white flashbacks, Springsteen draws inspiration from the challenges of blue-collar working-class Americans and witnessing his father’s struggles with alcoholism and mental health.
It’s here, in the darkness of Springsteen’s past, that White succeeds in his characterization of the legend. With a long track record playing a repressed talent, inhibited in his success due to deep family trauma (think Carmen Berzatto in “The Bear,” Lip Gallagher in “Shameless” and Kerry Von Erich in “The Iron Claw”) the broken, yet hopeful portrayal of the artist is just another success in the actor’s filmography.
From the way he holds his arm over every chair he sits in to the facial scrunch while singing or playing a show, White portrayed Springsteen not as a rockstar, but as deeply human.
This is best exemplified through the fictionalized relationship with Faye Romano, a single mother and former schoolmate of Springsteen, that becomes a budding romance.
The relationship embodies the behavioral shifts of a person suffering from depression. Emotional peaks of sweeping romantic gestures, such as late-night drives and carnival days with Hailey, Faye’s daughter, are contrasted with Springsteen’s commitment issues.
While White gives a great performance as Springsteen, it’s his co-star, Jeremy Strong, who steals the show for me.
Portraying Jon Landau, Springsteen’s longtime manager and co-producer, Strong gives a stellar performance, navigating the intricacies of the music industry and his relationship with the legend.
This emotional performance was particularly displayed in scenes where Landau begs Springsteen to seek professional help and when he cannot hold back tears during the first show back on tour. Known for his intense method style acting, I found Strong’s performance to be as imperative in the success of the film as Landau’s importance in the production of “Nebraska.”
That is to say, without him, this movie would not work.
But unfortunately, the strength of White and Strong’s performances was not enough to make this film stand out among recent mid-1900s rock biopics of late. Its biggest flaw comes with the somewhat rushed acceleration of the plot.
At the emotional climax of the movie, during a cross-country move to California, Springsteen visits a carnival in West Texas and endures a panic attack that spirals out of control. The scene abruptly cuts, and all the audience sees are the words “ten months later.”
Springsteen comes offstage after a show and hears a declaration of love and pride from his father. Skipping through almost a year of personal struggles and work on mental health, the final confrontation between Springsteen and his father doesn’t feel earned.
Pacing issues aside, the overall depth of film and exceptional performances from White and Strong make for a poignant narrative and worthwhile film to watch.
Email: [email protected]
Related Stories:
— Reel Thoughts: ‘The Diplomat’ blends diplomacy, distrust and devotion in Season 3
— Q&A: Director Mary Bronstein talks her new tension-packed A24 film ‘If I Had Legs I’d Kick You’
— Lutenist Paul O’Dette and tenor Aaron Sheehan perform English Renaissance music
