Bruce Springsteen is an interesting specimen. There is no denying his status as a rock ‘n’ roll legend. And while I’ve never been his biggest fan, he had a series of hits during the early to mid-1980s that I still love to this day. Yet Springsteen (affectionately known as The Boss) has always seemed like a regional favorite. For instance he remains much beloved in the Northeast but doesn’t have the same kind of following in the South.

Nonetheless, the 76-year-old Springsteen has released a total of 21 studio albums and sold over 140 million records worldwide. In addition, The Boss has won 20 Grammy Awards, two Golden Globes, and even an Academy Award. Those numbers alone speak volumes about the New Jersey native’s magnificent run. And now (as so often happens) he has his own music biopic. Unfortunately it doesn’t do justice to Springsteen’s life story or music career.

Based on the 2023 book of the same name by Warren Zanes, “Deliver Me From Nowhere” is a strangely unfocused sketch of Springsteen’s life. Writer-director Scott Cooper hones in on a specific time in the singer-songwriter’s history. It’s a compelling period that’s perfect for a ‘slice of life’ music biography. But instead of tightening its focus, the movie is frequently glancing back at another part of Springsteen’s life. Sadly we end up with a movie that’s hampered by two out of sync and underdeveloped stories competing for screen time.

In one respect “Deliver Me From Nowhere” is about Bruce (Jeremy Allen White) in his early thirties fresh off the enormous success of his multi-platinum double album “The River”. After his final show of his year-long tour, Bruce informs his loyal and supportive manager Jon Landau (a terrific Jeremy Strong) that’s he’s going back home to New Jersey to “slow things down a bit”. While at Asbury, Bruce reconnects with his past which inspires him to start writing and recording a collection of new songs.

Bruce ends up writing several sure-fire hits. But instead of releasing them, his heart leads him towards something more personal. So he records a series of acoustic folk songs that would form his sixth album, “Nebraska”. But his record label wants to take full advantage of his popularity with a new album full of chart-toppers. An acoustic folk album is not what they had in mind. Still Bruce persists. And making it an even tougher sell is his insistence that there be no press, no singles, and no tours.

The creative tensions between Bruce staying true to his convictions and the desire of record executives to capitalize on his fame is when the movie is at its best. But there is another story that attempts to explore the more personal themes of generational trauma and depression. It consists of a series of flashbacks sprinkled throughout the movie that focuses on Bruce’s complicated relationship with his abusive alcoholic father (Stephen Graham).

The father-son angle begins in 1957 during Bruce’s childhood and ends with a surprisingly tidy finish. The problem is we’re missing so many details that would better explain Bruce’s feelings towards his father. Even worse, their troubled relationship seems to haunt Bruce leading to bouts of depression. But his internal conflict doesn’t translate well to the screen. For much of the time we don’t know what’s wrong with Bruce. It isn’t until later that we get something resembling an explanation.

While the script bounces him back and forth between stories, White pours every bit of himself into portraying Springsteen. There are moments where the resemblance is uncanny both in his look and mannerisms. Other moments aren’t quite as convincing. Strong offers up another strong biographical supporting turn. And Odessa Young is very good as a single mother who becomes Bruce’s love interest. Unfortunately Young’s character is undercut by the muddied handling of Bruce’s mental state.

There’s no denying Bruce Springsteen is worthy of his own biopic. “Deliver Me From Nowhere” offers a mere glimpse of his creative journey rather than a celebration of it. Instead it attempts to balance music with a more personal story of strained family relationships and mental health. Cooper’s intentions are noble and he delivers some energetic scenes and enlightening moments (such as Bruce jamming with friends at The Stone Pony or his growing discomfort with fame). But it all feels curated to a fault, and there’s too much surface-level treatment to do justice to this music legend’s life and career.

VERDICT – 2.5 STARS