A benevolent feudal lord (Anil Kapoor) rules the village with an iron fist. His word is law, his frown is god's fury, his benediction is divine and his presence is god's presence. Both villagers and family wallahs approach him with folded hands and gloating obsequiousness and dissent is a dirty word in the village lexicon. So that, when the city bred bahu (Raveena) tries to change the status quo with her shehr-ki-ladki (city-girl) ways, condemnation is all she can hope to get from this family of diehard feudalistic.
Needless to say, the gone-astray naari is the only thorn in this idyll and there is a relentless tirade against videshi parampara as opposed to desi parampara. In fact, Rekha in a revered elder's role, takes upon herself the arduous task of defining the mysterious Indian woman who may be a graduate from Allahbad University and yet settles down in this yes-man environ, without a hiccup and a wistful longing for lost career ambitions. All this after Anil Kapoor carries on about 'naari' being synonymous with daasi, dharti and the likes.
Need we say more? Just one point. Old is still gold. Watching Rekha and Anil Kapoor creating engrossing moments out of old-fashioned, implausible, effete lore did give you a reason for being there.