Plot
The Nath family consists of Retired Commissioner Upendra, his wife, Savitri; elder son, Madan, who is married to Maya, and they have a son, Ashoo; a second son - Surendra, who is married to Kamla, and they have a daughter, Pinky; a third unmarried college-going son, Chander; and a school-going daughter, Namrata. They are a happy family, and everyone rejoices when Chander completes his M.A.. There is more to rejoice when Chander introduces them to the woman he loves, Vandana, the only daughter of wealthy Mr. Tandon. The marriage is arranged with a ceremony, attended by the family friend, Abdul, who home-delivers groceries.
However, before the marriage could be sealed, Upendra receives news that he has lost his Court case, and passes away. The wedding is canceled, and the lives of the entire Nath family changes thereafter, with Kamla and Maya taking over the household, reducing Savitri to the status of an unwanted guest, while Namrata is asked to become the servant and unable to complete her education, and Chander, who rebels, is asked to leave. Vandana's dad comes to know of their plight and refuses to permit his daughter to get married in the Nath family. Chander moves in with Abdul, gets a job as a waiter, then he is promoted as Manager, and finally as partner and co-owner of the Francis Hotel. Unable to get medication, Savitri passes away, forcing Namrata to move in with Abdul as well. Madan and Surendra also find success when they buy their own hotel and name it 'Gulmohar Hotel'. With Chander on one hand, and his two siblings on the other - they are now poised to compete with each other - not knowing who will win in this cut-throat competition - as they set out to destroy each other.
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“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“Those blessed structures, plot and rhyme—
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I want to make
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—Robert Lowell (1917–1977)