The film begins with an elderly white-wigged sage riding along on his cart accompanied by his demure niece along the dusty unpaved roads connecting the Pinds of rural Punjab. As they approach Nurpur pind (Nurpur is to Punjab as Main Street is to America) they find their path obstructed by an unkempt looking bed lying in the middle of the road. It ought to be kept in mind that this bed (the manjhee) within the realm of this fascinating culture is akin to male dogs territorial pissing in that it is a distinct mark of a territorial zone. Just as a dog attempts to spread its piss all over the place and thus mark out what he considers to be his domain, the village Chaudhary also marks out the boundaries of his turf by plonking his Manjhee at a specific spot as a mark of his identity and ownership. Thus when the old fogey asks four rather intimidating and well paunched goons to consider moving the manjhee out of the way, it is taken as an affront of the most humiliating kind.

The fogey reminds the goons that he did ask them politely, but the goons are adamant and refuse to let the oldie pass unless he hand over his daughter to them in exchange! The oldie loses his shirt and is subsequently thrashed to a pulp by the fat goons. Meanwhile at the fogey's home, the adoring parents of Umri (Sultan Rahi) are deriving utmost delight at the sheer brilliance of their son. The dashing Umri is demonstrating to his cooing parents how he can easily tame the most obstinate horse with the sheer powers of his pure masculinity. A proud father tells Umri about how it is his wish that he tame the famous Hunterwali's notoriously unruly horse - a horse that has never been controlled by a mere mortal and who the Hunterwali's super wealthy father has offered massive rewards for taming. Rahi mocks the task as being too easy for someone of his mighty talents but he is interrupted by the arrival of his sister who has returned without a duputta on her head - never a good omen. She recounts the tale of the manjhee and of the goons who thrashed poor old cha cha ji to a pulp. Moments later Umri is off on his freshly tamed horse………to teach the goons of Nurpur Pind a lesson they will never forget. Meanwhile he also sets his sights on taming the Hunterwali's horse and maybe even the Hunterwali herself!

This is the scintillating premise of the film which brings together the same old tried and tested (stale and worn out?) team of Sultan Rahi, Anjuman and Mustafa Qureshi for the zillionth time. The grand Raja (Talish) of a neighbouring village and the father of the infamous Hunterwali challenges all comers to try to ride Hunterwali's wild horse Moti but naturally no one can dare to try to achieve the impossible. However just as it looks as though another annual Mela will draw to its boring conclusion, Umri arrives to take up the challenge and duly conquers Moti much to the disgust of the Hunterwali. Raja Sahab had promised the man who tamed Moti any thing he asked for but when Umri asks for his daughter Baali the Hunterwali's hand, he is more than a little taken aback. However, being the town figurehead he has to keep his word and is about to force poor Baali to marry Umri when fate intervenes. Umri is attacked by the goons who had tried to rape his sister and ends up killing the lot of them. Word spreads that Umri is a murderer and this gives Raja sahab the chance to get off the hook by calling off the wedding to his daughter Baali.

It turns out that Baali has a twin sister who is a world apart, being a demure, meek, subservient, domesticated type as opposed the firebrand Hunterwali who goes around town brutalizing criminals with the deadly crack of her lethal hunter (pronounced Hanter). Meanwhile poor Umri absconds from the police who want him for the murder of the rapist goons from Nurpur pind. Hunterwali's demure sister Bano gets married off to local DSP Mustafa Qureshi and there is much festivity and spectacle as the wedding takes place a few weeks later. Meanwhile Baali too finds romance in a handsome young lad who saves her one fine afternoon from being ravaged by four more goons. She falls for this hunk who she thinks looks just like Imran Khan and a romance starts to blossom as they proceed to meet for afternoon frolics in the picturesque hills. When Baali Hunterwali learns of her fathers plans to wed her off to a friends son she is horrified at the prospect of losing the lust of her life, the lad she has been romancing over the last few weeks. When the wedding day draws nearer Baali decides to abscond with her boyfriend despite a touching and highly symbolic scene when while leaving the house, her dupatta gets tangled with a photograph of her with her father. The picture frame crashes to the floor and yet clings on to the dupatta, refusing to let Baali go, but she does. Her boyfriend takes her to a distant cave and all of a sudden things turn horribly nasty as the loving boyfriend turns out to be an accomplice of the four rapists and now they plan on making up for lost time with Baali totally captured.

Baali manages to squirm away out but the goons catch up with her. As all appears lost suddenly Umri shows up from out of the blue and brutalizes the goons, sending them fleeing to distant corners of the forest. However Baali has disgraced her family and herself by running away with her boyfriend so her father Raja Sahab does the "ghairatmand" (honourable) thing by taking a gun to his daughter, but by mistake he shoots the virtuous sister Bano instead as she leaps into the way of a bullet at a most inopportune moment. As Bano lies squirming away with a bullet in her gut, Raja Sahab fires a shot into his own head and splutters that he has sacrificed his life so that his daughter could live, as after such a disgrace to the family, only one of them could have lived to face the world! As the meek and demure paragon of desi goodness lies bleeding to death she makes a stunning final request which is that Baali Hunterwali, her identical twin, is to her place as Bano and carry on as the demure wife of the DSP. Baali agrees to her sisters dying request and adopts the dead sisters persona…but though the family is fooled, the family dog is not. Later, in a most touching scene she reaches an understanding with the German shepherd and together they form a lethal undercover team.

However Baali's Hunterwali urges begin to torment her and she cant shake these urges just as she cant shake her newly discovered fondness for Umri, the man who earlier had tamed her horse and just recently rescued her from a dreadful gang-rape. The film is a magnificent hotchpotch desi masala with a truly deluded yet brilliant plot and performances that suit the farcical events on screen to a tee. The animals also lend great support with Puppy stealing several scenes and even Moti the horse providing some high charged emotion. There is also a fair snake dance towards the end of the film and those can always be counted on for high marks for artistic content if not quite athletic ability and grace. Sultan Rahi has only a brief role and it is basically an Anjuman show all the way - one that she carries off with her usual aplomb even if she is looking a touch too "healthy" as they say. However it is Puppy the sleek looking German Shepherd who takes the top honours for his heroics and at the end of the day Hunterwali, Puppy and Moti could kick Zorro and Tonto's behinds out of site if ever there were to be a showdown.

If there is one major weakness it is that the film has introduced a new starlet in Sushma who is not up to scratch, neither in the required voluptuousness nor in acting skills. However in another plot twist Sushma falls for the same dastardly devil that tried to ensnare Baali. Matters come to a stunning climax as the Hunterwali rises to the occasion and dishes out her own brand of justice with each lash of her magnificent hunter. The film is most entertaining formula nonsense even if it is the usual socially regressive stuff, promoting honour killing as well as depicting the ultimate evil as the woman who thinks and behaves independently……….To quote directly, in a pivotal scene Anjuman turns to Sushma and tells her "remember that those women who chose their own husband end up with the most horrifying fate". Yet another twisted, regressive, demented form on jumped up feminism that is actually quite the opposite, entirely shaped by men for consumption by men.