Plot
Badal (Bobby Deol) is a naive but intelligent young man who comes from a small village to the big city. He is introduced to city life by Damru (Harish Patel) who calls himself Danny. When Badal attends college, he meets pretty and precocious Tina Oberoi (Twinkle Khanna) and, after a few misunderstanding and misadventures, they fall in love.
This is not taken well by Tina's dad (Raj Babbar) who hopes to marry Tina with his friend's (Bharat Kapoor) son. Tina's dad complains to the college principal (Vijay Kashyap), but Tina testifies in favour of Badal. Tina's dad then asks a corrupt cop, Negi, the city's assistant commissioner of police, for assistance. Negi arrests Badal on trumped-up charges and imprisons him. Badal's dad (Mukesh Khanna) comes to the big city to try to make sense of why Badal is prison. Tina's dad gives a contract to Negi to have Badal killed. Negi agrees and hires a gang of ruthless outlaws to hunt and kill Badal. He also pressures Tina not to acknowledge and meet Badal anymore, and Tina reluctantly agrees. When she learns that he is not dead she goes to him. In an effort to save her, her father dies and Badal kills Negi. At last, Tina and Badal unite.
Read more about this topic: Barsaat (1995 Film)
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.”
—Jane Rule (b. 1931)
“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)