Shraddha shines as 'Aapa' but the film fails. 

Shraddha Kapoor starrer 'Haseena Parkar' which is Apoorva Lakhia's comeback film downfalls with an unconvincing storyline and some hard to believe narrations here and there. The film had stellar performance from 'Shraddha Kapoor' as Aapa but that's not enough. It's not just Shraddha's difficult character role, or the story of Mumbai underworld's 'Aapa' but aslow-pacedd biographical film that fails to raise the interest of the audiences at the first place. Directed by Apoorva Lakhia, 'Haseena Parkar' showcases a complete point of view of India's most wanted criminal Dawood Ibrahim's sister.  

Shraddha Kapoor's effort and hard work for the role is truly praiseworthy as she plays Haseena from her younger days to the point she becomes the 'Aapa' of the underworld. Going through three hours make-up sessions to making it at the sets of the film right on time, Shraddha's dedication for the role and magnificent transformation brings such an unusual role to life superbly. We think Shraddha is the only reason why people will go out and watch this film. The exciting reason for the audiences was its plot that caters a point of view.

While a lot has been said about Dawood and other gangsters of Mumbai, this is the first time the unheard story of Haseena Parkar has left the audiences unconvinced. Playing the on-screen Dawood Ibrahim, Siddhant Kapoor was looking as if he was not mimicking Dawood but some funny character for sure. His casual dialogue delivery spoiled the intense role of the Dubai located gangster. Ankur Bhatia showcased a lukewarm performance as Ibrahim Parker, a typical 6-feet tall 'Mia Bhai' shaping a caring husband role.

The dialogues of 'Haseena Parkar' are interesting and suits the character of 'Aapa' splendidly. Writer Suresh Nair has done magic with his words through films like 'Kahaani', 'Namastey London' and 'Airlift'. The film matches the same level of dialogues spoken by Shraddha. Especially the killer one-liner 'Apa yaad hai na, Utna hee kaafi hai'

Films like 'Once Upon A Time in Mumbai' was based on Dawood Ibrahim, Arjun Rampal's 'Daddy' on Arun Gawli. However, this is the first time that the audience witnesses a story of a female underworld don who shares the pain she had because of her gangster brother's deed. Whereas Appa's point of view shows Gawli as the villain as she speaks how Daddy's men take down her husband Ibrahim Parker breaking all the rules of the underworld.

The vintage locations of Dongri are executed through a set that looks familiar to the local chawls. Cinematography by Fasahat Khan rediscovers terror scenes sceptically and does a moderate job with the camera. While the story and screenplay by Suresh Nair moves the story on-screen, but not in the heart and mind of the audiences leaving some uncovered topic towards Dawood Ibrahim as open interpretations.

The songs of the film can surely bring you a sign of relief. There are only three songs in the film whereas every song is composed by Sachin-Jigar. Arjit Singh and Priya Saraiya crooned 'Tere Bina' is a romantic song where Haseena and her husband are romancing. The second song is an item number introducing the sizzling hot Sarah Anjuli in vintage dance bar moving her body on the track sung by Sunidhi Chauhan. While the next song quickly shows the Dawood Ibrahim's rise in the underworld through 'Bantai' performed by Kirthi Shetty and Divine.

With films like 'Shootout at Lokhandwala' and 'Ek Ajnabee' Apoorva Lakhia fails to deliver a convincing plot due to a controversial subject that could not brainwash audiences perception towards the most wanted criminal in the world. 

kingfisher backstage