Release Date: 22nd September, 2017
Cast: Sonakshi Sinha, Shraddha Kapoor, Siddhant Kapoor
Writer/Director: Apoorva Lakhia
Producer/s: Mubina Rattonsey
Haseena Parkar Movie Review Rating: 2.5/5 Stars (Two and half stars)
Star Cast: Shraddha Kapoor, Siddhanth Kapoor, Ankur Bhatia, Rajesh Tailang
Director: Apoorva Lakhia
What’s Good: The research and Shraddha Kapoor
What’s Bad: The ‘one-sided’ courtroom drama, which, eventually become monotonous
Loo Break: Lots of them
Watch or Not?: Can be watched just once, if you have nothing else to do.
The film starts off with introduction of Haseena Parkar (Shraddha Kapoor), who crushes everyone’s doubts and appears in the court in connection of an extortion case, based on a complaint filed by a builder. The moment Haseena Parkar steps inside the court by fooling everyone (it’s a must watch scene), what ensues after that are allegations galore by the opposition lawyer (who is only second to Shraddha Kapoor in terms of screen presence). When the opposition lawyer starts levying the allegations, Haseena Parkar tries to prove her innocence by explaining her stand with a series of flashback events, starting with her childhood that oscillated between an extremely righteous policeman as her father and an extremely notorious bother Dawood (Siddhanth Kapoor) as her brother.
This is followed by events like her marriage to a simple man (Ankur Bhatia) who loved her unconditionally, the untimely death of her first brother Sabir in a shootout, the infamous Hindu-Muslim riots, the series of bomb blasts that shook Mumbai city, the fleeing away of her brother Dawood from Mumbai to Dubai and Haseena Parkar being repeatedly and mercilessly questioned by the Mumbai Crime Branch because she happens to be Dawood’s sister. Does Haseena Parkar confess to her brother’s heinous crimes, is she able to manage her family after her husband’s untimely death and what ultimately happens of Haseena Parkar, is what forms the rest of the film.
Haseena Parkar Movie Review: Script Analysis
Even though we all know about the dreaded Dawood Ibrahim in reality, it is really a very unique and innovative effort to make a film that’s dedicated to his sister Haseena ‘Aapa’ Parkar. Full marks to the film’s writer Suresh Nair for having come up with such a distinctive script for the film.
There have been many films which have got made on the underworld. But, what makes Haseena Parkar different from all others is that, this film gives an insight into the life of Haseena Parkar. And full marks to Shraddha Kapoor for having done total justice to the role. The place where the film falters is in its screenplay, which seems to be way too monotonous and one sided.
Haseena Parkar Movie Review: Star Performance
Absolutely no prizes for guessing that the film totally rides on the shoulders of Shraddha Kapoor, who does a damn good job in the titular role of Haseena Parkar. Even though the painstaking efforts which Shraddha Kapoor has taken in order to get into the skin of the character are very clearly visible, what acts as a roadblock to her character is the film’s screenplay, which looks and behaves very amateurish and half baked. One has to give it to Shraddha Kapoor for having portrayed the emotions of helplessness, love, fright and authority with utmost sincerity and dedication.
Besides Shraddha Kapoor, there’s her real life brother Siddhanth Kapoor who plays the role of her brother Dawood. It seems that, assuming that he had an extremely strong role in the film; Siddhanth Kapoor got carried away a bit. This starts showing in his performance, which is much below everyone’s expectations. The debutante actor Ankur Bhatia, despite his less screen time, looks sincere and holds promise. Rajesh Tailang is decent.
Lastly, strange it may sound, but the fact remains that, besides Shraddha Kapoor, if there was anyone whom the camera simply loved, then, it has to be the lady who played the opposition lawyer. She played her role with the right amount of conviction, confidence and sarcasm, which was required for her character. Rest of the actors help in forwarding the film’s narrative.