Viewing the Bruce Springsteen biopic *Springsteen: Deliver Me From Nowhere* occasionally resembles a musical chapter of *The Bear*. The primary similarity lies in Jeremy Allen White headlining both works, but the parallels extend beyond just him. Even in White’s absence, writer-director Scott Cooper’s depiction of Springsteen echoes Carmy Berzatto: a tormented artist grappling with a challenging family background, whose pursuit of perfection alienates those closest to him, including his girlfriend, Faye (Odessa Young). He is also battling mental health issues, suppressing darker emotions and channeling them through his music.

*Deliver Me From Nowhere* centers on the creation and recording of Springsteen’s sixth studio album, *Nebraska*. While the film’s music remains timeless, and White effectively embodies Springsteen, it lacks fresh insights into the feelings that inspire the music.

Much like the 2024 Bob Dylan biopic *A Complete Unknown*, *Deliver Me From Nowhere* does not trace its subject’s entire career. Instead, it begins with Springsteen already established as a star, performing “Born to Run” to an adoring audience during his sold-out The River Tour. Despite his acclaim, Springsteen is troubled, often reminiscing about his childhood—illustrated in black and white—particularly his dynamic with his abusive father (Stephen Graham) and caring mother (Gaby Hoffmann). Between concert footage and flashbacks, the film quickly veers into cliché territory. Nevertheless, the concert and studio scenes infuse a burst of musical energy, while the flashbacks serve as shortcuts to trauma.

Springsteen’s father is depicted with a lit cigarette and a beer can, while his mother embodies a clichéd image of a woman ensnared in a perilous marriage. Their disputes behind closed doors are overdone scenes. However, this childhood and these relationships form the bedrock of Springsteen’s anxieties as he creates *Nebraska*. Because the past is so superficially portrayed, the essence of the film feels lacking.

*Deliver Me From Nowhere* employs familiar methods to express Springsteen’s depression. He is shown in despair around his rental home and nearly breaks down while driving. While these visuals signify anguish, they lack clear purpose. The film repeatedly informs viewers that Springsteen is in pain. At one point, Springsteen notes that when he arrives home, “the quiet can get a little loud,” a line that echoes *The Bear*. At another moment, his music producer Jon Landau (Jeremy Strong) comments on the guilt and shame present in Springsteen’s *Nebraska* recordings.

Neither guilt nor shame surfaces in Springsteen’s writing and recording journey. Instead, the process appears overly straightforward: Springsteen watches Terrence Malick’s *Badlands*, investigates its background, Charles Starkweather, and subsequently writes “Nebraska.” He recalls his father taking him and his sister to play near a mansion on a hill, leading to “Mansion on the Hill.” There are no revelations or insights regarding the feelings that fuel the music.

Even the tension surrounding Springsteen’s personal life and his bond with Faye feels shallow. Their exchanges are laden with forced dialogue, and Springsteen’s choice to distance himself from her feels unconvincing. A moment where Faye confronts Springsteen about his absence could easily be interchanged with Carmy and Claire’s confrontation in *The Bear* Season 4, leading to the same effect.

Despite its shortcomings, *Deliver Me From Nowhere* effectively casts White as Springsteen. Behind brown contacts and sideburns, White conveys Springsteen’s melancholy with the sensitivity that earned him an Emmy for *The Bear*. While the character arcs of Carmy and Springsteen overlap, these performances are not mere imitations. White’s Carmy appears on the brink of explosion, whereas his Springsteen embodies a consistent sorrow. If Carmy is a pressure cooker, Springsteen is a tranquil lake.

White excels in the film’s musical segments, passionately singing Springsteen’s hits and covers at the Stone Pony. Although his vocals may not rival Springsteen’s, the vibrant energy of the concert scenes and White’s commitment deliver impactful performances.

White also shines in the film’s quieter scenes. In one instance, he sits in silence before succumbing to tears, demonstrating his capability to portray profound sadness. If only the remainder of *Deliver Me From Nowhere* possessed the emotional richness to back that moment.

*Springsteen: Deliver Me From Nowhere* was reviewed from the New York Film Festival. It premieres in theaters on Oct. 24.