‘Springsteen’ Jeremy Allen White Oscars
During the last decade, there has been a flood of great Hollywood films about rock stars, including 2018 Bohemian Rhapsody2019’s Rocket and 2022 Elviseach of whom made a fortune at the box office and was nominated for an Oscar, with Bohemian Rhapsody Win four small golden men, including the best actor, and Rocket taking home one. Those films certainly addressed dark aspects of the personal lives of their subjects, but were essentially musical of Jukebox, excuses to show the greatest successes of their subject’s careers. That, for better or worse, depending on what you are looking for, it is No What you should expect from Springsteen: I find me out of nowhere. And it will be interesting to see how that happens with the members of the Academy of Arts and Sciences of the Film Film.
Scott CooperThe ‘s movie starring the two -time Emmy winner Jeremy Allen White (Carmy of The bear) As the boss, he had its world premiere at the Werner Herzog Theater of the Telluride Film Festival on Friday night, with Bruce Springsteen he present. And like book 2023 of which Cooper adapted it, Warren Zanes‘ excellent Deliver me from nothing: the creation of Nebraska by Bruce SpringsteenIt focuses almost completely on one of the darkest moments of Springsteen’s life. Shortly Springsteen It is both a film about depression and a film about being a rock star (“I know who you are,” says a stranger to Springsteen in a moment, to which he replies: “Well, that makes one of us”), and thus, so strange to seem, it is a kind of Nebraska of its kind.
In the early 80s, Springsteen was removed from his innovative album Born to runwhich announced the arrival of a great artist and narrator who focused on albums instead of singles. But Freehold’s son, New Jersey, was not yet rich in rock stars, since he had poured an excessive amount of money in previous recording sessions to satisfy his perfectionism. I was terrified of invading the mega fame. And he was increasingly plagued by a mental illness, something that had affected other members of his family, even and especially his father, whose behavior towards him and his mother, when he was a child, still persecuted him, and that contributed to his inability to maintain healthy romantic relationships.
As Springsteen Protection Manager Jon Landau (Succession Emmy winner and The apprentice Oscar nominated Jeremy strong) He defended the pressure of his record label to get more music as soon as possible, and shortly after Springsteen began dating a single single mother named Faye Romano (Odessa Young), began to isolated to a greater degree than usual, immersing himself in dark literature (Flannery O’Connor) and movies (Moors), and the recording demonstrations, of the seclusion of its own room, in audio cassettes. When making the demonstrations, his initial intention was to discover songs at home and then share them with his band, instead of hemorrhages and money while trying to solve things during study sessions. But he finally fell in love with his reduced, acoustic, imperfect sound and insisted on releasing them in that way, which complied with the great resistance of label executives.
As someone who recently made an immersion of months and deep in all springsteen before A 75 minutes interview with my podcast manI greatly appreciate the great attention of the film in detail and precision. But I also wonder if the casual fans of Springsteen, which I was before that company made me a super fanatic, will worry about that as much as wanting to see a representation of the man they have known since the half century since then since then. Nebraska. In addition, since the central love story of the film is No The one between Springsteen and Romano, but the one who between Springsteen and Landau, would like the film to have addressed the roots of the last relationship: in May 1974, when Landau, then criticism of music, saw a pre-Born to run Springsteen acted in Boston, and then wrote a piece in which he declared: “VI Rock and Roll Future, and his name is Bruce Springsteen,” which gave Springste in a impulse of confidence he needed at that time.
In any case, one thing that no one can take into account is the quality of the three central performances in the film. As the protagonist, White projects the soul and arrogance of Springsteen, and capable does its own song. And in support roles, Strong gives another transformative turn, this time as the Anti-Kendall Roy, while Young is charming and vulnerable. The three will be strong contenders for Oscar nominations, and I suspect that the film itself, along with Cooper’s address and script, will be there.