In terms of both style and substance, they now reek of musty monotony. Underworld period dramas have anyways outlived their utility. Shraddha Kapoor certainly isn't the only problem with Haseena Parkar. He calls her beti, she addresses him as bhai. But it is unable to capture the workings of the brother-sister bond beyond its superficial ramifications. Haseena Parkar traces the rise of Dawood Ibrahim, son of a Mumbai police constable, and underscores the agony his little sister goes through when she sees him being whipped by his furious father for his transgressions. When the effort put into a role by an actor begins to show over and above the rest of the film to the service of which it is deployed, it can only be bad news.
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Seeking to convey menace and power via a darkened skin tone, puffed-up cheeks, prosthetic enhancements around her jaw and a gravelly voice, she hisses and growls to no effect, making rather heavy weather of carrying the flimsy film on her shoulders. When she delivers her vapid lines, it is hard to tell whether she is biting or chewing. Shraddha Kapoor, for whom this is meant to be a career-altering outing, bites off more than she can chew. The film falls off the deep end in the process. It crafts a morally dodgy portrait of the 'godmother' of Nagpada, Dawood Ibrahim's tough-minded sibling who ran the dreaded mafia don's crime syndicate by proxy in the 1990s and the noughties without ever being brought to book. Cast: Shraddha Kapoor, Siddhanth Kapoor, Ankur BhatiaĪ leaden-footed gangster flick that barely skims the surface of the done-to-death Mumbai underworld and the story of its notorious Kaskar clan, Haseena Parkar is bereft of frisson and focus.