The 2025 was once again crossed by the magnetic presence of Jeremy Allen White on our screens. A figure that inhabits the cinema and the seriality that we already like for several years and that is absurd for this to indisputable symbol of the contemporary. Between the fourth season of The Bear released on Disney+ last June and the recent interpretation of The Boss in Springsteen – Free me from nothing, directed by Scott Cooper, White has shown actors skills that travail the roles he dresses, combining genres, faces and films as in a few of his generation know (yet) to do. From the times of the tormented teenager, genius and finally alcoholic Lip Gallagher in Shameless (2011-2021), the actor, born in New York in 1991 by parents theater artists, seems almost an excess, a remnant of the New Hollywood transplanted in the present, for the way in which he holds the screen, the first floors, the silences, the way to move and, last but not least
Proof of this, if all The Bear is nervous with references and gifts (and in particular the fourth season is a succession of film quotes), the episode of the marriage (07×04, Bears) seems a prolongation of Rachel Getting Married. And always at Demme it’s easy to think about watching the biopic dedicated to Springsteen, if one thinks that Baldwin’s director has directed, among others, three video clips of Born to Run rocker, including that of Street of Philadelphia, the same roads, this time of Chicago, that White seems to cross at the beginning of Replicants (05×04). And thanks to the role of Carmy Berzatto Jeremy Allen White has won two Emmys, three Screen Actors Guild Awards, two Critics’ Choice Awards and three Golden Globes as best actor, then to the intimate spots signed Calvin Klein who redefined the public image.
But on the big screen, he returns to wear more similar clothes. After the first experiences in minor titles such as The Speed of Life (2007), Afterschool (2008) and secondary roles like that in Twelve directed by Joel Schumacher, in 2023 he is next to Riz Ahmed and Jessie Buckley in Fingernails and plays one of the brothers Von Erich in The Warrior: The Iron Claw together with Zac Efron. But it is 2025 to consecrate it thanks to the interpretation of Bruce Springsteen in Cooper’s biographic film, so much so as to receive for this role a Golden Globe candidacy. Inspires to dress roles of men marked by tensions and contradictions, making evident the existential and artistic hardships of the figures that lead to the scene, one of White’s interpretative forces is undoubtedly the contract, nervous and closed use on itself that makes its own body, the marked and irregular face that seems to give life, role after role, to fragmented characters, declined every time in a different way and that seem to find sense and completeness in New Yorker.
This is where the reflection on the masculinity White proposes, far from machism and traditional eroticism. Lip, Carmy and The Boss are united by an original wound that makes them vulnerable, hypersensitive, restless. A deconstructed masculinity that pushes them to face their emotional vacuum trying to build a new way of being men, to confront themselves also through therapy and external support. They are men who ask for help, who break, but find the strength to accept fear, uncertainty, anguish. Then we see Carmy participate in the meetings of the anonymous alcoholics and abandon himself to a overwhelming monologue on the fraternal bond, and again The Boss in the study of the psychologist taking with depression and weight of success. Jeremy Allen White is once again able to bring a complex, imperfect, emotionally exposed male figure back to the centre.
Article The character of the year 2025 – Jeremy Allen White comes from SentieriSelvaggi.
