“Springsteen: Deliver Me from Nowhere” tells the story of legendary musician Bruce Springsteen creating his album “Nebraska” and the unraveling of his depression, brought to life brilliantly by Jeremy Allen White.
It’s no secret that White is an early lock for the best actor category in the 2026 Academy Awards, and his performance in this film immensely justifies why. Like many actors in biopics over the last decade, White transformed to portray Springsteen, but it’s his raw emotion and tenderness that just might win him the Oscar.
Despite watching the film’s main trailer countless times, the accent White took on threw me for a loop and took a few minutes to get used to. The trailer also might make viewers believe they’ll see more of the classic rock side of Springsteen, as White is seen performing “Born to Run” in front of a live audience.
Any fans of Springsteen who expect this biopic to be a telling of his entire career will be disappointed, as it only covers the making of “Nebraska.” From a storytelling perspective, this makes the most sense, as the story unfolds with the necessary breathing room to feel authentic.
It becomes clear after the final show of Springsteen’s “Born to Run” album tour that he genuinely enjoyed performing, but had unresolved mental health issues that he refused to address.
Throughout the film, Jeremy Strong plays Jon Landau, Springsteen’s manager, and is a comforting presence with his soft-spoken encouragement of Springsteen’s pursuits. He rented a quiet house for Springsteen to relax in his home state of New Jersey after the tour wrapped up as they worked out the next steps of his career.
Despite pushback from record executives to ride the momentum of Springsteen’s latest album, Landau insisted on giving Springsteen some time and space. So when Springsteen mentioned the recording of acoustic demos in his house, Landau encouraged him to get ideas that could become something bigger.
What Landau didn’t know was that Springsteen’s ideas stemmed from pent-up childhood emotions, resulting in darker, more personal songs from Springsteen.
Intermittently, we see glimpses into the past of Springsteen with his family, specifically the tense relationship with his father, Douglas. The film shows Douglas an alcoholic, and scenes display him to be confrontational with Bruce as a child and Bruce’s mother, Adele. While some of these scenes drag, their presence is important to contextualize Bruce’s suppressed emotions in the film.
Another plotline woven into the film is Springsteen’s relationship with a single mother named Faye, the sister of an old high school classmate. The chemistry between White and Odessa Young is sweet and easy to take a liking to, although it’s set up as a bittersweet pairing considering the inevitable heartbreaking end.
After insisting that the cassette tape recordings of his music needed to be distributed just as they were, Springsteen went as far as to shelve successful tracks such as “Born in the U.S.A.” to prioritize the “Nebraska” album.
Again, record executive Al Teller expressed his criticism of the album’s slow pace, which shied so far from Springsteen’s normal sound, but Landau defended the work.
“That’s the whole point,” Landau said, a perfect representation of the emptiness and somber feel of the music and the film overall.
Before leaving for California, Faye tearfully explained to Bruce why things didn’t work out between them; Bruce had pushed her away out of fear of letting his guard down. Still not fully acknowledging his depression, Bruce left for California, but a panic attack where he hallucinated Faye and his father forced him to confront his demons when he arrived.
With the help of Landau, Springsteen got connected with a therapist. The depressive episode that had built silently throughout the film culminates in a tear-jerking performance from White as he breaks down in front of the therapist, hitting especially hard for those who have been in a spot similar to this before.
Fast forward 10 months, Bruce is seen back on tour and has even somewhat rekindled his relationship with his father, a hopeful ending to show his progress with depression treatment. Bruce’s overall lighter demeanor in this final sequence confirms that the making of the “Nebraska” album was absolutely necessary and therapeutic for his mental health journey.
While the film’s slower pace might not be for everyone, I found solace in reading between the lines of White’s performance, making up a relatable and inspiring story of fighting the silent battle and doing what is right for you.
