A gesture of artistic radicalism or Springsteen's identity crisis?

The project dossier was the bomb. What PowerPoint, kid. A film about a rock superstar now that they biopeaks of the great myths of popular music (Queen, Elvis, Dylan...) go like thunder, with one of the actors of the moment (Jeremy Allen White, who has working-class arms like Bruce's) and Springsteen himself giving the project the green light. A film born to talk about it, baby. It just so happens that the moment it portrays may not be the most epic of the singer's career: when he decided in 1982, between the great success of The river and the popularity of the mascletá Born in the USA, make a solo album, acoustic, dark and with very murky and literary lyrics: Nebraska.

Within the classic hero's journey, it's a moment of doubt and an obstacle on the launching pad toward global fame that's dramatically very interesting. With an episode of such potential iconicity, Springsteen: Deliver me from nowhere He strives to define himself without success: sometimes he seems to defend it as an identity gesture of an artist in the face of external pressures (such as the electrification of Dylan in A complete unknown), but ends up interpreting it as an impasse of self-sabotage, personal crisis and panic about the successful destiny that awaited him. The film is also visually indecisive: between images of Springsteenian imagery (highways, Asbury Park...) and moments of incorruptible perfectionism in the recording studio (the best part of the entire film), dozens of postcards of rock and roll clichés sneak in. flashbacks sentimental that smooth the film to the common place of the biopeaks orthodox musicals.