Jeremy Allen White rocks as The Boss — even if his voice doesn’t

The Bruce Springsteen movie “Springsteen: Deliver Me From Nowhere” has a lot in common with last year’s Bob Dylan biopic “A Complete Unknown.”

Both eschew a sprawling birth-to-present-day storyline and instead focus on a consequential chapter of some of the greatest American musicians’ lives. 

Dylan’s centered on him controversially leaving traditional folk behind in favor of electric. 

Springsteen’s, which had its local premiere Sunday in the New York Film Festival and hits theaters Oct. 24, flips that. After “The River,” he riskily writes and records “Nebraska,” a dark, personal, acoustic folk album that is today regarded as among his finest.

But there is one big difference. “A Complete Unknown” made Dylan’s life an also-ran to his art — maintaining the enigma’s mystery.   

“Deliver Me From Nowhere,” the enlightening and entertaining movie starring Jeremy Allen White as the Boss, is, by contrast, all raw emotion. Director Scott Cooper’s film delves into Springsteen’s demons; his struggles with depression and complex relationship with his dad. 

Close to falling apart at 32, the singer-songwriter navigates his small-town New Jersey roots as he stands on the scary precipice of superstardom. 

All of those messy ingredients lead to 1982’s “Nebraska.”

And be grateful Cooper was led to White. The actor’s chef-y mix of sensitivity and masculinity that works so well on “The Bear” is exactly right for Bruce — both as a performer and behind closed doors. Few could nail him as well.

White’s turn is sad, confused, restless and real. And he doesn’t go overboard schmacting his way through a hokey impersonation.

The star, like Timothée Chalamet, also does his own singing here. That, I’m afraid, was a mistake. The bar for Bruce is a higher one to clear than Dylan — the man’s voice was otherworldly in his 30s — and the actor falls well short of it, despite trying very hard. 

The vocal disparity is especially noticeable when he’s in the studio with manager Jon Landau (Jeremy Strong) and the E Street Band recording “Born in the USA.” “The Bear” star’s growl sounds awfully hoarse.

That’s not a dealbreaker, since “Deliver Me From Nowhere” isn’t as concert-heavy as, say, “Bohemian Rhapsody” was. And White’s acting makes up for it, when he’s intensely jotting down lyrics like a paranoid maniac alone in his Colts Neck, NJ, bedroom, or flying to Los Angeles to drag his father Douglas (Stephen Graham) out of a Chinatown bar. 

Douglas is also abusive, and there are flashbacks to Bruce’s 1957 Freehold childhood that Cooper made black and white for some odd reason. 

“Adolescence” star Graham, the world’s repentant dad du jour, is best not in those sections that flirt with cliche, but in the touching 1980s scenes when he makes amends for his past. Back in the 1950s, little Matthew Anthony Pellicano Jr. is crushing as the Boss’ wide-eyed younger self.   

There’s also a dash of romance with Faye (Odessa Young), a waitress who’s a composite of women Springsteen dated at the time. Taking her to the Stone Pony and Asbury Park Casino, we watch Bruce try to hold onto the comforts of home, even as rabid fans are starting to shout “I love you, Bruce!” and “Bruce, you suck!” from their cars.

And, of course, there’s Mr. Scene Stealer — Jeremy Strong.

When his HBO triumph “Succession” ended, I did not expect Strong to take on a succession of transformative character parts. That’s how it’s shaken out. Just after playing Roy Cohn in “The Apprentice,” he’s piled on the quirk again as Landau. 

Strong is a laugh riot as the manager dryly explains to record producer Al Teller (David Krumholtz, equally hilarious) what exactly “Nebraska” is — recorded on a cassette tape! — and that it will have no singles, press or concert tour.

Cooper occasionally undermines his carefully crafted intimacy with unnecessary flourishes, such as the color-drained ’50s parts. Another instance is when Springsteen finally goes into therapy and tears stream down his face and blaring orchestral music swells. It’s borderline funny. The performance is masterful, yet the accompaniment reeks of 1994.

For the most part, however, “Deliver Me From Nowhere” is in conversation with where Springsteen’s mind and passions rest today, as evidenced by his memoir “Born to Run” and his introspective Broadway show — revisiting the mansion on the hill and returning to his father’s house.