Plot
Dhanakpur village farmer Thakur Jaswant Singh (Alok Nath) and Dhanraj Singh (Dalip Tahil) are brothers. They have a younger sister Madhumati, who was used, made pregnant and ditched by Ratan Singh, the son of Thakur Raghuveer Singh from a big Rajput family. The family refuses Jawant Singh's request to get his sister married to Ratan. Ratan's family refuses to accept that he is guilty, as they are interested in their status. Insulted, Jaswant decides to leave the village. Unable to tolerate the events, Madhumati commits suicide. Frustrated, Dhanraj kills Ratan at his wedding and gets imprisoned. The two families are now bitter enemies. Jaswant moves to Delhi, develops his business, and reaches good status; he also raises Dhanraj's kids. Years later, Dhanraj gets released from the prison. Upon release, Dhanraj receives a letter from his son, Raj (Aamir Khan), an ardent music-lover, who completes his education in Rajput College. An emotional Dhanraj sneaks into Raj's college farewell party and is glad to see his son fulfill his dreams.
In a twist of fate, Raj and his buddy go to Dhanakpur to clear his family's land deal. While returning home, Raj falls for Rashmi (Juhi Chawla), a relative of Raghuveer Singh. Raj sneaks into Rashmi's birthday bash. The two meet again at a holiday spot. They become lost in the forest and fall in love while finding a way out together. Raj finds out about Rashmi's family but is unable to tell her the truth. When Randhir Singh, Rashmi's father, finds out about the affair, he immediately arranges Rashmi's wedding. The two lovers take on their families and elope, dreaming of an idyllic life together.
Furious, Randhir hires a contract killer to kill Raj. The lovers have a brief interval of happiness. They stay in a deserted fort, happy in their own paradise. When Randhir gets to know their whereabouts, he goes there to bring Rashmi home and ensure that Raj is killed. Randhir's mother does not wish for this so she goes to Dhanraj and tells him to save them. Raj leaves the fort to bring some wood for their house. While Raj is away, Randhir meets with Rashmi and tells her to come home; he has "accepted their love". Rashmi is overjoyed at her father's words, not knowing the truth. In the forest, Raj is chased by the henchmen.
Dhanraj reaches the fort and repeatedly asks him about his son's whereabouts. They get in a fight and a gunshot is heard. Rashmi leaves the scene to make sure that Raj is okay. He is just about to be shot, but on seeing Rashmi, the henchman shoots her instead. She is shot twice and rolls down the hill. Raj overpowers the henchman and reaches Rashmi's side, crying. They promise never to leave each other. On saying this, Rashmi breathes her last in Raj's arms. A grief-stricken Raj is devastated by Rashmi's death, and says that nothing can separate them. He commits suicide with a dagger given to him by Rashmi, and dies with his head on Rashmi's chest. The final scene is both families running toward them; the lovers are together, never to be separated, as the sun sets behind them.
Read more about this topic: Qayamat Se Qayamat Tak
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)
“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)