The film begins in 1857, when India was ruled by the British East India Company. Mangal Pandey is a sepoy, a soldier of Indian origin, in the army of the East India Company. Pandey is fighting in the Anglo-Afghan Wars and saves the life of his British commanding officer, William Gordon. Gordon is indebted to Pandey and a strong friendship develops between them, transcending both rank and race.

Amongst the communal riots that erupt in the city, Tara shelters a wayward Sakina from a crazed mob and a bond that blossoms into love is created. The two eventually get married and have a son. The happy family, now living in Amritsar, gets the shock of their lives when Sakina learns that her father (Amrish Puri), whom she previously believed died in the riots back in Amritsar, is still alive after seeing his picture in a tattered, old newspaper. Upon contacting him, Sakina’s father, now the mayor of Lahore in Pakistan, arranges for his daughter to arrive in Lahore to see him. Sakina leaves for Lahore minus Tara and her son, and upon reaching the city, learns of her father’s plans for her – plans that include forcing Sakina to forget about her family and start life anew in Pakistan. Then begins an extraordinary journey which will lead Tara to cross the border into Pakistan to find his love Sakina

When U.S.-based Siddharth visits his Indian home town with his new wife, he insists they stay at the ancestral home, laughing off family members’ warnings of ghostly goings-on in the mansion. But events soon make him reconsider his beliefs. As unexplained and terrifying occurrences arise, Siddharth calls on his doctor friend to help solve the mystery. What will be the outcome? Will Siddharth’s friend be able to solve this riddle?I won’t go far as comparing Sleepy Hollow with Bhool Bhulaiyaa, because they are not comparable. One is a Hollywood flick and the other Bollywood. One which is high budgeted other relatively low. But you cant but feel that the comedy which seemed forced in Sleepy Hollow is same for this flick. It really appears forced. One can feel that they can do away with the comedy in the first half of the movie all together. The sequences where the bloke has to be dumb in order to complete a holy task, just appears too forced.

Dil To Pagal Hai indulges in its romanticism but what I found great about it is its totally realistic portrayal of young artists. Chopra strikes an amazing balance between contemporary culture and poetic romanticism. While some of the dialogue is a bit cheesy, most of it is actually very real and has some sense of everyday reality. Chopra portrays the troupe of Shahrukh as a totally modern one, while the character of Madhuri and her soft romantic nature is actually deprecated even by some of the characters in the film itself. But the whole theory of the film, which tries to convey a message that somewhere someone is made for you, is quite interesting and inspiring despite its cheesiness. The film is never overly melodramatic or gushing in its emotional quotient. It tries to present itself as a simple love story, which does not work with a larger-than-life story but rather an episode in which true romance comes in the middle of happy-go-lucky, hardly-romantic people.