Plot
The film is based on the life of a young teenager Karan (Tusshar Kapoor). Even though Karan is not good in academics, he is an excellent music performer with his band. Whilst on a journey, Karan spots Pooja (Kareena Kapoor) on the street, and falls in love with her at first sight. Then on, Karan always searches for Pooja, but couldn't find. He loses hope, quits his music and then relocate to a different city with his uncle. On his way, his car breaks down, and he hitches a ride from a stranger, and is shocked to find out that the stranger is Pooja. During the drive, a truck hits the car which falls into a valley. Karan and Pooja hang by the edge of the cliff. Karan manage to save Pooja but his hands slip and he falls down.
On regaining consciousness, Pooja realizes that it was her fault which killed Karan and searches for his body. Meanwhile, wounded Karan is found by a man and is taken to a hospital and is reunited with his family. Karan starts to think on how he should have confessed his love. Later on Karan focuses on his studies instead of music, and soon enough, Pooja turns up at his door apologizing to him, and offering him to start a friendship. Overjoyed, Karan accepts and the two become great friends. Pooja tells Karan that she is leaving to America to complete her studies. Devastated, he finally confesses his love for her. Pooja cannot deny her feelings, also confesses her love. She promises that when she come back after her studies from America, she will marry Karan. The loving Karan, agrees and waits for her return.
Read more about this topic: Mujhe Kucch Kehna Hai
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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)
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
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“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)