Plot
Rahul (Sikandar Kher), Priyanka (Yuvika Chaudhary), Qateel (Arjan Bajwa), Bagani (Alekh Sangal) and Vishaka (Gul Panag) are medical college students with carefree attitudes. Rahul and Priyanka's failed relationship is shown in flashbacks. Rahul argues with an independent candidate and plans to make a political party and contest the college elections. Later he patches up with a bigger political party and gets the independent candidate arrested in fraud case of suicide attempt by his girlfriend. After that Rahul doesn't want to back off from elections. To avert this they plan to go for internship. The group goes to a village in rural Maharashtra that is struck by farmer suicide. There they work as medical interns in the village hospital. The group plans a vacation to Goa until they are awoken to the plight of the poverty-ridden villagers by the village doctor, Mukya (Ashutosh Rana). In addition to their torment, a cruel zamindar (Vikram Gokhale) and his son (Prosshant Narayanan) trouble the villagers with excessive interest rates.
As a solution, a reformed criminal (Sachin Khedekar) offers monetary aid to the oppressed in form of microcredit loans. This comes as an able ally to students who vow to help the villagers. However, naxalites and corrupt politicians complicate their efforts. How these socially-awakened students rise above these problems forms the rest of the story.
Read more about this topic: Summer 2007
Famous quotes containing the word plot:
“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.”
—Franz Grillparzer (1791–1872)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“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)