SPRINGSTEEN : DELIVER ME FROM NOWHERE : Tuesday 28th October 2025

I saw the M Rated 'SPRINGSTEEN : DELIVER ME FROM NOWHERE' this week, and this American biographical musical drama film is Written for the screen, Co-Produced and Directed by Scott Cooper who made his Directorial debut with the critically acclaimed 'Crazy Heart' in 2009 and would go on to Direct 'Out of the Furnace' in 2013, 'Black Mass' in 2015, 'Hostiles' in 2017, 'Antlers' in 2021 and 'The Pale Blue Eye' in 2022. This film is based on the 2023 book 'Deliver Me from Nowhere' by Warren Zanes. The film saw its World Premiere showcasing at the Telluride Film Festival at the end of August with its US and Australian release last week. It has received mixed reviews from critics, and has so far grossed US$18M from a production budget of US$55M.

The film opens in 1957 with a young Bruce Springsteen (Matthew Anthony Pellicano) driving in his family car with his mother Adele (Gaby Hoffman) to a local bar, where Bruce is told to go inside and get his father Douglas (Stephen Graham) to come home. He gingerly taps his father, sitting at the bar, on his back and tells him its time to come home. Douglas turns around and tells him to go and wait outside. Fast forward to 1981 and Bruce Springsteen (Jeremy Allen White) reaches the end of his latest sold-out concert tour. Jon Landau (Jeremy Strong), his manager and record producer, rents a house for Bruce to lay low from his growing fame, near Freehold, New Jersey where he grew up. 

Bruce's friend and mechanic Matt Delia (Harrison Gilbertson) drives him to the house in Colts Neck, New Jersey and Bruce buys his first new car - a Chevrolet Camaro Z28. Playing with local bands at the Stone Pony (a live music venue in Asbury Park, New Jersey), he meets Faye Romano (Odessa Young), an old classmate's younger sister. On the heels of his first top-ten song, 'Hungry Heart', his record label has high expectations of another hit album, and Bruce suggests trimming studio costs, which he had hitherto funded largely himself, by preparing a demo himself. 

Locked away in his retreat at Colts Neck he reads the works of Flannery O'Connor (an American novelist, short story writer, and essayist), Bruce catches the 1973 Terrence Malick Directed film 'Badlands' on TV with Martin Sheen and Sissy Spacek, and is drawn to research the crime spree of Charles Starkweather who killed eleven people in Nebraska and Wyoming between late 1957 and early 1958. Inspired, he writes a song in the killer's own voice, and later takes Faye on a first date to Asbury Park.

At the house, Bruce enlists the support of his guitar technician Mike Batlan (Paul Walter Hauser) to turn the bedroom into a makeshift studio, with a four-track recorder to arrange the demo themselves. As Bruce's relationship with Faye grows, he writes a collection of stark, somber songs with a blue-collar viewpoint, influenced by his childhood memories, especially of his father with whom he had a complicated and less that ideal relationship. Jon informs Bruce of other opportunities piling up, including a possible movie role written by Paul Schrader and set to star Robert De Niro called 'Born in the U.S.A.' but Bruce is committed to his new music. Recording his new tracks unaccompanied, he makes the risky choice to embrace an imperfect, unvarnished sound quality.

Later, Mike personally delivers to Jon the only copy of the completed demo, a single cassette tape, and Jon confides in his wife about the unexpectedly darker and very personal sounding songs. Now living in California, Adele calls Bruce for help with an increasingly erratic Douglas, who has been fired from his job and is off his medications. After visiting his father, Bruce arrives in New York City to record the new album, reuniting with the E Street Band. They lay down several successful tracks, including 'Born in the U.S.A.' which he wrote for the soundtrack to his abandoned movie offer, but Bruce is unhappy with the overall full-band studio sound of the record.

Following another two weeks of recording and Bruce is still not satisfied with his acoustic vision for the album. Abandoning Faye, he insists on shelving the potential hits ('Born in the U.S.A.', 'Glory Days' and 'I'm On Fire') until he is satisfied. Jon agrees to use Bruce's raw demo, unchanged, as the new record, suspecting Bruce fears losing himself in the face of success. Using older equipment to recreate the demo tape as a vinyl master recording, Bruce's original sound is successfully preserved for the new album, 'Nebraska'.

Columbia Record Executive Al Teller (David Krumholtz) is dismayed by this new stylistic approach, and the absence of any prospective hit singles, but Jon defends Bruce's artistic vision and decision to let the album speak for itself, with no singles, tours, or press appearances, not even his face on the cover to promote the album. Bruce tells Faye that he is moving to California alone, and that he has purchased a house in Los Angeles. She tearfully accuses him of refusing to face his fears. He suffers a mental breakdown as Matt drives him across the country, but they reach his new home in LA. Thinking about suicide, Bruce reaches out to Jon, who urges him to seek professional help, and Bruce visits a therapist and breaks down emotionally.

Ten months later, Bruce is back on tour with Jon's support, and is visited by his proud parents. Douglas asks the 32-year-old Bruce to sit on his lap for the first time, reconnecting with his son and acknowledging that he had not always been a good father but that he is very proud of his son. The pair embrace. An epilogue reveals that 'Nebraska' reached number three on the Billboard charts, while the hits included on Bruce's following album 'Born in the U.S.A.' launched him to global superstardom, as he continued to suffer bouts of depression, but now always with help and hope. 

Make no mistake, this is Jeremy Allen White's film in the way he embodies Bruce Springsteen's mannerisms, his emotions, his working class roots and his raw energy when he's belting out those songs on stage, or in the quieter moments when he's writing his songs and laying them down himself on his four-track recorder in his bedroom. Whilst this film is sure to please the Springsteen fans among us, for me concentrating purely on the recording of one of his least commercially successful albums (despite going to #3 on the album chart), was perhaps a misstep, and I would have preferred to see a little more of his later years, and his rise to legendary status. That said, 'Springsteen : Deliver Me From Nowhere' is worthy of your attention, although you can wait to catch it on your favoured streaming service in due course, but be warned, this is no 'Bohemian Rhapsody' or 'Rocket Man' or 'Elvis'.

'Springsteen : Deliver Me From Nowhere' merits three claps of the Odeon Online clapperboard from a possible five claps.

-Steve, at Odeon Online-