Deewana Mastana

Raja is a small-time crook who sells railway tickets on the black market at Amirpur Station. Tired of his job he looks for new ways to make a quick buck. One day, along with his friend Ghafoor and a police inspector , he robs Rs 2.5 million from the railway treasury. Later, Raja and Gafoor bump off the inspector and run away with the loot to . At the Mumbai airport, Raja spots Neha Sharma and falls in with her. Incidentally, they land up at the same hotel where Raja and Gafoor find out that she is a psychiatrist. Raja assumes the name Raj Kumar and tries to befriend her by lying that he has just returned from America and that his driver Gafoor is suffering from a where he regards any beautiful girl as his . However, Gafoor cautions Raja not to hurry and be patient in matters of love. The trouble begins when Bunnu, the son of a wealthy businessman, is sent to Neha for treatment. He has multiple phobias and is terrified of fire, heights, running, and water and is coached by Neha to deal with his issues using “Baby steps”. Soon, he too falls for Neha and discovers he has a rival in Raja. Neha has to leave for Ooty with her father to attend her uncle’s wedding. She does not leave behind a forwarding address. Both Raja and Bunnu impersonate policemen and intimidate her secretary into revealing where she is. Neha is thrilled to see them in Ooty, but is drawn closer to the ill Bunnu rather than Raja. Things take an ugly turn when Gafoor tries to kill Bunnu, who escapes. Bunnu contacts a contract killer Pappu Pager to bump off Raja. However, that plan fails. Armed with a gold ring and garland, Neha calls Bunnu and Raja to court, ostensibly with the purpose of marriage. Both are surprised to see the other there. Eventually they find out that Neha is actually marrying Prem (Salman Khan) and Raja and Bunnu end up being witnesses to her marriage. The songs became a huge hit upon release.
Songs like ‘Tere Bina Dil Lagta Nahin’, ‘Head ya tail’, ‘O Mummy Mummy’, and ‘Hungama Ho Gaya’ had become very popular. Syed Firdas Ashraf of opined that “Overall, the film is no different from the earlier masala mixtures ground together by David Dhawan and Govinda”. of wrote, “You can almost hear the director thinking – “How do I make the audience laugh next?” The appallingly mediocre music, picturised in done-to-death Switzerland locations, doesn’t help much either. Still, after a summer of half-baked patriotism and simpering romantic drivel, a film with no pretensions comes as a relief. And Govinda, as always, is an absolute treat.”