Plot
The film opens with Munna Bhai (Sanjay Dutt), a dreaded Mumbai-streeted goon, on the chase to Pillai (Ashish Vidyarthi). Munna Bhai catches him, and Pillai tries to escape into Komal's (Aishwarya Rai) dancing class. Komal stops Munna from beating him up and makes him say sorry to Pillai. Munna straight-away falls in love with her without realizing that he is in love. Noticing that Munna Bhai seems to be ill, his sidekick takes him to Dr. Malhotra (Amitabh Bachchan), whose diagnosis is that Munna Bhai is suffering from the "love virus" which can only be cured with love. He advises Munna Bhai to try to woo the girl with whom he is smitten. What Dr. Malhotra and Munna Bhai do not realize is that this girl is none other than the doctor's younger sister. Malhotra takes Komal abroad to get her married, unaware she is in love with Raja (Ajay Devgan). Raja, in disguise fools Malhotra, and follows them abroad. Munna Bhai is then on gun-point by Pillai, and Raja saves him. Unaware of knowing they both love the same girl, Malhotra makes a torn between them, which ends up getting Raja beat up. Munna Bhai gets his gun out, but before Malhotra realizes what he has done, Komal jumps in to save Raja and is shot. Munna Bhai realizing his mistake, surrenders, and gives up the crime world, while Dr. Malhotra also realizes his mistake and lets Komal marry Raja.
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Famous quotes containing the word plot:
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
“Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“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)