‘So, the real truth about Lady Gaga fans lies in this sentiment: They are kings. They are queens. They write the history of the kingdom, while I am something of a devoted Jester’ – taken from the Manifesto of Little Monsters.
When Lady Gaga first stepped onto the scene in 2008 it felt like the entire world gasped with instant fixtation. Her voice, the production of songs such as Just Dance and Poker Face, along with her persona left everyone awestruck. Some even called her strange due to her unique outfits and outlandish performances. I was only 11 when all of this happened, and immediately bought all her singles and The Fame from HMV to play on my Sony Walkman. Stefani Germanotta is Lady Gaga, and the multiple personalities Gaga has generated through her stage persona solidifies exactly who she is as a person. So, when the pop star was cast to star alongside Joaquin Phoenix in the sequel to 2018’s smash hit Joker as his love interest Harleen ‘Lee’ Quinzel, everything just made sense.
Todd Phillips’ Joker received rave reviews five years ago for adding a more humane and dark edge to the DC character of Joker. The film’s follow up, A Folie A Deux, is toned the same but with a musical edge to it. The Harlequin project was first teased as a secret project, as fans eagerly await details surrounding her upcoming pop album currently dubbed LG7. Soon, following A Folie A Deux’s premiere at Venice Film Festival, posters started showing up simply labelled LG 6.5. Obviously fans went wild. I was on the treadmill doing my 30 min incline 12 walk and gagged when the announcement dropped on social media, just 3 days before its release on September 27th. Gaga’s latest work aims to distance itself as a soundtrack album to the film, but serves as a companion piece to reflect the characterisation of her version on the iconic character.
The record kick starts with a redemption of Good Morning, originally performed by Judy Garland and Mickey Rooney. Its jazzy flare acts as an instant positive opener. Gaga is no stranger to dipping into the Jazz genre after previously collaborating with the late Tony Bennett on Cheek to Cheek and Love for Sale, along her successful Las Vegas Jazz & Piano residency. The first track is a solid introduction to the many covers that have been adapted for Harlequin. As the album progresses there is a recognisable pattern, a nod to old Hollywood, and one icon in particular – Judy Garland. Covers such as Get Happy and That’s Entertainment are treated with gentil treatment from Gaga; those effortless vocals feel as though they can cure whatever worries we have.
In previous versions of Harley Quinn, most recently portrayed by Margot Robbie, we see the character as eccentric and humorous in tone. It comes to no surprise Gaga’s take on the character is stripped back and focuses on the emotive state of mind of Lee as she falls in love with Arthur Fleck. As we settle into Harlequin, it’s quite evident that its influence is more on the soulful side and embraces lighter moments of the character we typically haven’t resonated with previously. Stand out covers on the album include The Carpenters Close to You and Frank Sinatra’s That’s Life – while these have been covered countless times over the years, it is easy to forgive Gaga’s renditions because her voice feels timeless and softly represents the way Phillip’s has taken the characters of Aurther and Harley to a different and unusual realm in both Joker and A Folie A Deux.
While navigating through the record, at times it feels completely distant from both her character and the film. What is missing are some kind of absurd and completely outrageous tracks to break the record up from simply being another Gaga jazz album. The Joker, originally covered by Shirley Bassey, is the closest we get to the singer taking a cover and transforming it into this upbeat rock song with a punk flare. Only Gaga herself could take this 1968 track and give it some Harley Quinn sass.
There are just two original songs on the album, which are perhaps the only offerings that truely feel like it captures the mood of the character. Folie a Deux is a slow paced, whimsical waltz which feels like it could also be placed in a Tim Burton film. She confesses she is “crazy in love” and along with the work of the orchestra’s production, it creates a vivid image of Lee and Arthur’s romantic fantasy that has occurred in Arkham State Hospital. The song, Happy Mistake, could be one of Gaga’s most moving songs to date. During a Harlequin listening party in London, the pop star said the song “was a reflection [of] every album I’ve ever made and all the songs I’ve written.” In the track she sings, ”I feel so crazy, my head is filled with broken mirrors,” which perfectly sums up the type of Harley Quinn she is portraying in the film. A woman who is vulnerable, who has her own issues and is trying her best despite all the craziness she chooses.
Harlequin is a great Jazz and soul infused record. It feels every bit of what Gaga is about – experimenting, doing projects that come from the heart and really using her vocals to the maximum quality. The album, which acts as a concept of Gaga’s characterisation of Harleen Quinzel, feels muted in that aspect due to the repetitiveness of the tone of the chosen covers. You ask yourself where is Harley in this? Where is the absurdity of it all? Perhaps because Harley Quinn is an iconic character which has been perceived in a certain way previously we just have our own pre-assumptions to what this album should feel like. Regardless, this is a superb effort and one that is suited for more than just a film.
