Too many people worry about lenses in portraiture before they have their lighting in place.
Depending on the level you want to work at, a few battery powered strobes reflected off of some cheap Amazon umbrellas mounted to cooked spaghetti stands might seem to work because that is an improvement over shoe mounted flash units, but sooner or later, most people serious about portraiture want to up their game and start using tools that will give great light rather than just better light.
If you don't have your lighting in place, spend your money there rather than buying expensive glass, or really any glass.
Having said that, I have shot excellent portraits under some of the most abysmal conditions imaginable with whatever light happens to be available to me, so there's that.
Understanding light and how to shape it and control it is far more important than having the finest lenses available. Sometimes having the finest lens is a detriment anyway.
And, more important than both lighting and lenses is the ability to relate to your subject. An uncomfortable subject is not going to give you anything to be proud of.
Anyway, presuming you have personality and lighting in place, then of the three lenses you have listed, the DFA* 85/1.4 is pretty close to the perfect lens. It is scary sharp wide open and gets better stopped down until around f5.6. It also has some of the nicest rendering I have seen. There aren't many lenses made that can match it's optical quality.
I have never used the old FA* 85/1.4, but from reports I've read on the PDML, it is very good at closer distances, but a little less sharp as it focuses farther way. It was, from what I have read, optimized for portrait distances.
I did own the A*85/1.4 for quite a few year and found it to be excellent, but a bit hard to focus on DSLR screens, which are not optimized for manual focus. After purchasing the DFA*85/1.4 I sold it to another list member. It is one of the very few lenses that I could use that I have let go. After using the new 85/1.4 I decided that I would never use the A* lens again, and it was too good a lens to put on the shelf.
The picture below was shot on a K20 with the DA*55/1.4.
Lighting matters, and having a subject that is comfortable in front of the camera and is comfortable with the photographer combined with good lighting is what makes the portrait. The camera and lens, not so much.