This is the story of the slightly-less-notorious sister of a notorious gangster.
Director: Apoorva Lakhia
Writers: Suresh Nair (story and screenplay), Chintan Gandhi (dialogue)
Stars: Shraddha Kapoor, Ankur Bhatia, Siddhant Kapoor
Haseena Parkar is an Indian biological crime film based on the life of Haseena Parkar. Haseena was the sister of terrorist Dawood Ibrahim and handled the operations of his crime syndicate in Mumbai. She died of a cardiac arrest in July 2014.
The story written by Suresh Nair packs in too much for a 124 minute long film. Suresh Nair’s screenplay does not come across as effective. HASEENA PARKAR begins on a nice note and one expects the film to go on a high. Sadly that doesn’t happen. One of the biggest problems with the film is that it gives an overview of the underworld menace and doesn’t explain the scenario to the audiences well. On the whole, HASEENA PARKAR fails to impress as it’s too superficial and unexciting. At the box office, the limited buzz and competition from other releases will prove detrimental.
The biggest problem is the story. Haseena Parkar is not a docu drama like Daddy nor is it a commercial gangster entertainer like Once Upon A Time In Mumbai. And it does not fare well as a biopic either.Juvenile story-telling, melodrama and an shaky lead actor does not take Haseena Parkar to the level, it was expected to. And what is the point of revisiting a female don’s life if the story fails to thrill. Sorry Shraddha, Arjun’s Daddy left its mark better…
Deccan Chronicle (1.5/5)
Lakhia’s latest offering Haseena Parkar fails to impress. It is surely not on the list of recommended gangster films. Haseena Parkar is a superficial drama with no grit. The film has only glorified dialogues that has no real meaning to it. It’s better to enjoy your weekend with other gangster flicks over pizza!
Times Of India (2/5)
The disappointingly shallow biopic is a testament to director Apoorva Lakhia’s penchant for making films on Mumbai’s underworld dons that ride on sensation over substance. You walk into the film, hoping to understand the controversial journey of a woman, who became the aapa (elder sister) or the Godmother of Nagpada, beyond her identity as Dawood’s sister. But all you get is a poorly written, acted and executed film that unintentionally victimises and thus justifies her warped sense of power under the pretext of ‘protecting her family’.
The film manipulates audiences to sympathise with Haseena Parkar. The crowd calls her desh drohi, she complains her children haven’t had food for a week, that she is facing interrogation from both, the police and her family. Most of all we are expected to feel sad for her because she faces injustice by the virtue of being Dawood Ibrahim’s sister, the same name she uses and abuses, in numerous extortion cases. Tch tch, so sad, really!.