She was the one who single-handedly dealt with D-Company’s business in Mumbai and had over 80 cases registered against her but was never convicted and appeared only once in a trial. The film chronicles the journey of Haseena Parkar, the sister of the nefarious criminal Dawood Ibrahim from being a naive and almost repressed girl to becoming one of the primary crime figures of Mumbai. Haseena Parkar has to rely solely on the pull of Shraddha Kapoor which at many junctures doesn’t quite work out. Shootout at Lokhandwala which was also marred by unnecessary theatrics but had strong performances, story and Vivek Oberoi as its saving graces. Till date, Apoorva Lakhia has made only one good film i.e. The manner in which it is approached is flawed and quite pointless.
In the end, you realize that the film's biggest flaw lay in the very decision to make it.Towards the end of Haseena Parkar, the judge presiding over the 2 hours long case finally tells the prosecuting attorney that whatever she has done for the last 2 hours is debate and not a legal proceeding and therein, the director himself sums up the biggest underlying problem of the film. What else to say when he, with a generous smile, tells one lawyer, “She has given you a tough fight!” Well, at least this film gives you many laughs, even if unintentionally. The judge behaves as if he is a reality show judge. The lawyers outshout each other, even if it means bringing up irrelevant topics. Ankur Bhatia as Haseena’s husband Ismail Parkar is the best of the lot, but he gets limited screen time.īut the two lawyers and the judge take the cake. But even he becomes a victim of unintentional hilarity later on. But as soon as she ages, her expression becomes fixed and she starts speaking in a strange accent through a mouth filled with paan, which makes you laugh after a point. Her act in the honeymoon song deserves special mention. She gives forceful, over-the-top expressions when she plays the young Haseena. The camerawork is fine except for the forced use of bird’s eye view shots.Ĭoming to Kapoor, we wonder how the makers were convinced she could pull this role off. Plus, the director relies overmuch on the cliched technique of using unnecessarily loud sounds when nothing exciting is happening, to create the impression that a lot is. Even Dawood Ibrahim isn’t shown as that menacing. The second half also glorifies Haseena aapa by smartly not giving much footage to her bad side. Though there is some novelty in the story being told from the point of view of the gangster’s sister, the unconvincing twists, uninteresting dialogues and Kapoor's miscasting prevent any sort of interest emerging. For example, the rise of a gangster peppered with age-old shootouts.
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The narrative is full of events that you have witnessed innumerable times in gangster films. Haseena Parkar's life story has nothing to move or entertain you. The way the protagonist arrives in court with a dozen other burkha-clad women (all in different taxis) is also creative, though it is fictional dramatization. Unfortunately, these don’t help the cause of the film as the flashback portion, which is the majority of the film, lacks appeal. The idea of getting someone to court and presenting her life story as part of the case is creative.
But there comes a point when she has to justify every act of hers in court. Her rise in the underworld is easy as she is Dawood's sister. With time, however, she becomes 'Haseena aapa', a dreaded mafia queen. Life continues to be tough for Parkar as her husband gets killed for no fault of his. Dawood (Siddhanth Kapoor) takes to crime and becomes a feared gangster, but he flees the country to escape a police crackdown leaving his beloved sister behind.
Parkar was one of 12 siblings born to police constable Ibrahim Kaskar and his wife. The film tells the story of Haseena Parkar (Kapoor), sister of most wanted gangster and terrorist Dawood Ibrahim. But, by the time this loud underworld saga ends, you realize that the biggest problem with the film is something else. While watching Apoorva Lakhia’s Haseena Parkar, you find it difficult to decide whether the bigger flaw in the film is the unconvincing narrative or Shraddha Kapoor’s faulty casting.
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