Plot
Suraj Bhandari (Farooq Shaikh) is the well-mannered and obedient son of Kailash and Kamla Bhandari. Theirs is an affluent upper-class family. The household is fiercely dominated by Kamla (Bindu) who wants her eldest son to marry a girl whose social status matches theirs.
However, contrary to her wishes Suraj follows his heart and marries the not so rich, yet talented Village belle Shalu (Rekha) which infuriates Kamla to no end, and together with her comical, but scheming secretary (Asrani), vows to throw her out of the house with their shrewd and cunning tactics deployed against her.
Meanwhile Shalu tries to be a dutiful daughter-in-law by trying to win the heart of Kamla. She has the full support and understanding of her father-in-law (the hen-pecked husband of Kamla) Kailash Bhandari (Kader Khan) who treats her like a daughter and her young brother-in-law Vicky (Salman Khan) who sometimes cannot bear the atrocities meted out at his sister-in-law and gets vocal in protests against his tyrant mother.
After endless attempts of humiliation and personal attacks, Shalu hits back in her style and her true identity is revealed towards the climax. She shocks everyone with her diction and articulate speech in sharp contrast to her crude village belle identity.
Her father Ashok Mehra (a family friend of the Bhandaris) reveals her true identity. Kamla learns that Shalu is the Oxford-educated daughter of Mehra, who in connivance with her husband (Kailash), had won her way into the family in a way to teach her a lesson in humility and humanity. Kailash gets vocal against his wife for the first time.
Kamla realises and repents of her behaviour towards the family when they all decide to leave her and the house. Kamla sincerely apologises to all and happiness finally enters the Bhandari household.
Read more about this topic: Biwi Ho To Aisi
Famous quotes containing the word plot:
“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)
“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.”
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“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)