Ten Situations, Two Heroes, Twenty Songs

Caution: Long post!

It’s been a while now, but last year this blog hosted a Classic Bollywood Quiz. The prize for the runner-up was the chance to dictate a post: a theme for a list, for example.

Our runner-up, Anu Warrier, like me, likes both Shammi Kapoor and Dev Anand a lot. So, when we were discussing how both Dev Anand and Shammi Kapoor had acted in some similar films, Anu submitted her request for her prize post. Ten similar situations in which these two heroes find themselves in their films, and one song, respectively, that they sing in that situation. Easy? No, it wasn’t, as you can see from the fact that it’s taken me a long time to compile this list. But fun? Oh, yes!

So, Anu: here you go. Two of our favourite leading men in ten similar situations, and twenty songs that arise out of those situations. Enjoy! All of these are from 50s and 60s films that I’ve seen. And, no two songs from the same film.

Situation 1: Driving off with an unwilling heroine: Not a difficult task to achieve when you’re capable of charming the birds out of the trees, and both Dev and Shammi manage to – eventually – get the lady in question to smile, even if she does it on the sly.

Jeevan ke safar mein raahi (Munimji, 1955): Miffed at being constantly doled out baksheesh by the foreign-returned miss, our hero gets out of his drab munimji disguise and hijacks the heroine’s car, with her in it. She’s furious, even more so when he insists on driving like a maniac – or singing; he tells her to choose. So she grudgingly allows him to sing. And though the song is a philosophical one with a hint of sadness (travelling companions come together only to be separated), it does appeal to her.

Raahi mil gaye raahon mein
(Dil Deke Dekho, 1959): Here, too, our hero drives off with a lady who’s already met him, and has been trying hard to pretend she’s not attracted. In this song, Shammi Kapoor meets Asha Parekh and her fiancé – played by a clownish Rajendranath – when their car has a flat tire. Our man sees that the fiancé’s no good as a mechanic, so offers to help: but only if she will go the rest of the journey with him, in his jeep.
A happier song, this: also about travellers, but about travellers coming together and falling in love.

Situation 2: Going in disguise to a kotha: That may sound not-done (the ‘going to a kotha’ bit; good men don’t, not in the type of films Shammi and Dev Anand starred in), but when you’re trying to bring the baddies to justice, you gotta do what you gotta do.

Hum bekhudi mein tum ko pukaare (Kala Pani, 1958): Kala Pani is about Dev Anand’s character realising that his father was convicted, years ago, of a murder, and is still in jail. He sets out to clear his father’s name – and discovers the person who gave important, damning evidence: a tawaif (played by Nalini Jaywant). So he disguises himself (in a pyjama and achkan! Shame on you, Dev Saab, for being so subtle!), turns up at her kotha, ridicules her poetry, and subsequently floors her with his own shers. One of my favourite songs follows.

Bada qaatil hai mera yaar China-Chin-Chin-Choo
(China Town, 1962): Like Dev Anand in Kala Pani, Shammi Kapoor in China Town is pretending to be a poet – but first, he’s pretending to be his own twin, the notorious (now jailed) gangland boss, Mike. He helps the police by impersonating Mike, and the job calls for meeting shady characters in shady places – like a kotha.
This being Shammi, he’s worlds apart from Dev Aand in Hum bekhudi mein tum ko pukaare: his disguise is totally OTT, and the singing and dancing – a duet with the tawaif, Roshanara Begum – is as madcap as it gets.

Situation 3: Coaxing a beloved to stay a while: Not an unusual situation in Hindi films. Evening, a romantic rendezvous, a sweetheart saying she must go – and her man pleading with her to stay, just a little longer.

Abhi na jaao chhodkar (Hum Dono, 1962): The quintessential ‘don’t-go-yet song’: Dev Anand pleads with his girl, and even resorts to mild emotional blackmail: the evening has barely set in, she has only just arrived, they haven’t had any time to talk… if she is in such a hurry to leave, how can she ever claim to be a true love? Melodious, romantic, faintly flavoured with a boast: I know this girl loves me; I can tease her mercilessly.

Aasaan hai jaana mehfil se (Junglee, 1961): Same situation, and a fine example of how different Shammi Kapoor’s style is from Dev Anand’s. This song sparkles with sheer physicality – especially dancing and clapping – and brims with affection, playfulness, and romance. Personally, I like this version of the situation more than Abhi na jaao chhodkar. Perhaps a lot of that has to do with the chemistry between the two gorgeous leads.

Situation 4: Trying to earn some money: By the early 60s, both Dev Anand and Shammi Kapoor were usually acting suave, wealthy (or at least wealthy enough to be always well-dressed) urbanites. There were occasional departures, though, when the characters they played needed money. What did they do then?

Zindagi hai kya sun meri jaan (Maya, 1961): Dev Anand’s character in Maya isn’t poor – he’s just pretending to be, because he’s so disillusioned with wealth. But he does have to pay rent for his kholi, for which he needs money – and, therefore, must earn that money. So he gets himself an ice cream cart, and sings as he wheels it around. He ends up giving away more than he sells, but anyway…

Govinda aala re aala (Bluffmaster, 1963): One of my favourite festive songs, and fabulously picturised on Bombay’s streets. Here, Shammi plays the poor Ashok – the ‘bluffmaster’ – who makes his way through life tricking everybody. Now, needing money for a birthday gift for his girlfriend, he comes up with an interesting (and, surprisingly for him, above board) solution.
It’s Krishna Janmashtami, and a wealthy seth has strung up a dahi handi containing a hundred rupees, high above the street, for the men of the neighbourhood to grab for themselves – if they can get it. Our hero, drenched and uninhibited, is in the forefront, building up support, aiming to get that money – and enjoying himself hugely in the process.

Situation 5: Rich man pretending to be poor falls for a poor girl: Need I say more? Here are the songs.

Tujhe jeevan ki dor se baandh liya hai (Asli-Naqli, 1962): Dev Anand plays Anand, the spoilt grandson of a wealthy man, who keeps chastising Anand for his worthlessness. Anand finally snaps, leaves home, and ends up pretending to be a poor man – and in the process falls in love with a poor girl. In this song, Anand – now a bus driver – and his girl sing a romantic song out in the open.

Mujhe kitna pyaar hai tumse (Dil Tera Deewaana, 1962): Dev Anand Shammi Kapoor plays Anand Mohan, the spoilt grandson of a wealthy man, who keeps chastising Anand Mohan for his worthlessness. Anand The father finally snaps, leaves home, and sends Mohan off to a jailor friend to be ‘put in his place’. Mohan switches places with a friend, ends up pretending to be a poor man – and in the process falls in love with a poor girl. In this song, Anand Mohan – now a bus taxi driver – and his girl sing a romantic song out in the open.

Situation 6: Following an irritated girl – with a song: Not an unusual situation, this – at least not in the 60s, when just about every hero did at least one stalkerish song per film before the girl fell in love with him. And both our heroes were very good at it.

Maana janaab ne pukaara nahin (Paying Guest, 1957): Dev Anand gets on the nerves of an already-huffy Nutan here, and she retaliates (a bit) by whacking him with her badminton racquet. A cute song, with bicycles and the badminton racquet playing an important part as he follows her through town.

Deewaane ka naam toh poochho (An Evening in Paris, 1967): The lady (a very chic Sharmila Tagore) is a little more restrained, but she’s irritated, all right – in a cold and distant way. Shammi Kapoor is his usual self: bounding around, flinging himself about, and giving a hoot about what onlookers think. Good song, but more than that, it’s a great tour of Paris – by car, on foot, on a bus, and even on a bateau mouche.

Situation 7: Introducing a beloved to a bunch of strangers: There’s a little more to this choice of situation and songs, actually.

One landmark film originally supposed to star Dev Anand – but which eventually featured Shammi Kapoor – was Teesri Manzil (1966). For me, Teesri Manzil is Shammi Kapoor; I find it impossible to imagine Dev Anand as Rocky. Dev Anand dancing to Aaja aaja main hoon pyaar tera or O haseena zulfonwaali? Umm, no. Deewaana mujhsa nahin or Tumne mujhe dekha are more believable as Dev Anand picturisations, but here’s one song picturised on a situation close to that of a Dev Anand song.

Dekhiye saahibon woh koi aur thi (Teesri Manzil, 1966): Rocky (Shammi Kapoor), supposed to meet his girlfriend, mistakes another girl – a complete stranger – for her, and ends up being chased by the insulted lady slap bang into the midst of a crowd at a fair. The crowd’s instantly up in arms against this supposed lecher, and he – finally seeing his girl – quickly sets about introducing her to the crowd and letting them know that she is the one he meant. Peppiness rules.

Yehi toh hain woh
(Solvaan Saal, 1958): Slightly different from the situation in Teesri Manzil, because Dev Anand’s character, while in love with the girl in question, doesn’t quite rule her heart yet. In fact, she’s distinctly annoyed that he’s claiming her as his sweetheart in front of this large and amused crowd of strangers. A cute song with fun lyrics (I like that “Romeo chal basaa jinki tamanna liye”!)

Incidentally, another interesting similarity: there’s a surprising amount of aerial acrobatics by both heroes in these songs. Shammi, of course, goes on a ferris wheel and a carousel, but Dev Anand isn’t to be left behind – he swings on a rope, and goes clambering up into a loft as well.

Situation 8: Sneaking into a girls-only picnic to romance the heroine:  We all know that going on picnics ranks (along with partying) as the favourite pastime of urban, wealthy characters in 50s and 60s Hindi cinema. It also offers a great opportunity to indulge in some romance – genuine or otherwise.

Yeh duniyawaale poochhenge (Mahal, 1969): Asha Parekh and her girl friends go on a picnic here, and Dev Anand – pretending to be his own boss – goes along with the pretence. While the other girls are busy playing with their colourful umbrellas, he spends his time singing a love song to the heroine, who reciprocates prettily, since she doesn’t know who he is.
All hell does break loose after the song (when she learns the truth), but during the song itself, all is bliss.

Tumse achha kaun hai (Jaanwar, 1965): Shammi Kapoor here gatecrashes a riverside picnic just so he can let the heroine (Rajshree) know what he thinks of her. Much very vigorous dancing by Shammi, indignant pouting by Rajshree, and a somewhat more active role being played by the girl friends – they even get to offer the spurned hero a thermos of hot tea (coffee)?
Shammi Kapoor, by the way, seemed to make a habit of this in his films. Check out Laal chhadi maidan khadi (also from Jaanwar); Megha re bole ghanan-ghanan (Dil deke dekho) and Ae gulbadan (Professor).

Situation 9: A club, villains, and a hero in disguise: And, of course, the hero’s in disguise because he’s on the track of the villains.

Gustaakh nazar chehre se hata (Jaali Note, 1960): Dev Anand, as the cop Dinesh, sets about infiltrating a gang of forgers – and runs straight into a pretty problem: a dancer (Helen, who else?) who quickly and deliberately comes between him and the villains he’s chasing – by intercepting him with a song and dance. Though he doesn’t dance, our hero does join in the song, and even toots a bit on a clarinet.

Dhokha khaayegi na yaaron ki nazar (Singapore, 1960): Similar story here, except that the villains, instead of being forgers, are involved in all sorts of other nefarious activities, including murder. The hero – being Shammi Kapoor – though he finds himself being thwarted by the villains in a dance club, makes the most of it and joins in, shaking a leg and playing along with the band. Besides being the sole singer, of course.

Situation 10: Drunk and in despair: A common enough situation to be in, especially for Dev Anand – he seemed to specialise in portraying the tipsy hero. Philosophical, cheery, wild, inspired, or (as in this case) simply trying to drown his sorrows in drink. Shammi Kapoor, to my surprise, has fewer ‘drunk and in despair’ songs to his name; this, frankly, is the only one I could think of, offhand.

Din dhal jaaye (Guide, 1965): One of the classic daaru songs, and dripping bitterness all the way. Even I, who have no sympathy for the fraudulent Raju (Dev Anand’s character, the tourist guide, in Guide) ended up feeling a bit sorry for him in this song. He’s brought this depression on himself, but the way he expresses it is touching.

Hai duniya usi ki zamaana usi ka (Kashmir ki Kali, 1964): Like Din dhal jaaye, Hai duniya usi ki also bemoans a lost love – but the situation is a little different. Our hero here hasn’t brought it upon himself; circumstances have. And so, instead of merely weeping over the sweetheart he’s lost, he also expresses pride over the love he once knew.
It’s interesting, I think, to see that even when depicting drunk men – and in an almost similar state of inebriation – Shammi Kapoor’s character is more physical than Dev Anand’s: he stumbles across the room, and uses props to almost ‘dance’.


77 thoughts on “Ten Situations, Two Heroes, Twenty Songs

    • Thank you, bawa. Yes, I tend to like Shammi Kapoor more than Dev Anand (I think seeing Dev Anand from the 70s on seemed to eclipse all the great movies he’d acted in before that – and the mannerisms he adopted in the 60s did irk me a lot)… but I certainly think that Dev Anand had some really good songs picturised on him. The S D Burman connection with Navketan, especially, worked very well for Dev Anand.


    • Echo…. (where does this egotistical desire come from… after years of slinking around, to want to catch up on years of missing comments!!) But thank you Anu and Madhu – this post was absolutely awesome, esp. situation 5.:D


  1. What a treat!!
    Two birds with one stone.

    That MUST have been hard work. Thank you for doing it and giving us all, this pleasure.

    The *situations* brought a smile to my face :)

    I have a situation. Lets call it; – *The reverse roles* – Hero in a miff with heroine manaaoing him.

    From Kala Pani with Dev Anand

    From Tumsa Nahin Dekha Shammi with Ameeta


  2. What a wonderful theme! Just skimmed thorugh the post in my lunch break!
    Looking forward to read it in fursat!
    Glad to see you haven’t forgotten the quiz and its runner-ups and various kinds of winners! ;-)


    • Oh, I have certainly not forgotten that quiz and its winners, harvey! I had been planning on putting up a couple of prize posts this month, but this particular post took up a lot of my energy. Will be publishing more, soon. :-)

      Enjoy the songs here when you have the time!


  3. Madhoooo! Thank you! This really is a two-in-one post, isn’t it? Twice as many songs, twice as much fun. I knew when I came up with this whackadoodle of an idea that you would come up trumps! :) Ah, work can wait. I need to listen to all these songs in oeace. I just skimmed through them while reading your introductions to each. Thank you!


    • Anu, and thank you! You really suggested a fabulous theme – I loved every bit of it. :-) My poor husband got quite involved too, because every evening for more than a fortnight, when we’ve gone on our evening walk, I’ve been telling him what the next situation I’ve thought up is, and what songs I’m linking it to… only to tell him, the very next evening, that I’ve discarded that idea because one of the songs had some little glitch that didn’t fit the situation!

      Thank you, so much. I enjoyed doing that. A lot.


  4. What an absolutely fantastic theme! Thanks, Anu – and thanks, Madhu.
    Will definitely come back to this later but something that readily comes to mind.
    – Pran being made a joke of, as the heroine pretends to be in love with him and teases him, while being in love with the hero.
    -> Dev Anand : Dil ki umangen (Munimji)
    -> Shammi Kapoor: Husn chala kuchh aisi chaal (Bluffmaster)


  5. For the situation where the hero gets into a girls only picnic to be with the heroine do you think Bade Hain dil ke kaaley would work? From Dil Deke Dekho i mean! That’s one I just love from this Shammi Asha extravaganza.
    And yes, I totally agree with you on Teesri manzil beinmg Shammi Kapoor. Dev Anand as Rocky?!?! Naaaahhhh, never!


    • Sharmi, Bade hain dil ke kaale comes right after Megha re bole ghanan-ghanan (which I’ve mentioned, even though I’ve not listed it in my list – since I was keeping to only one song per film, and I’d listed Raahi mil gaye raahon mein already).

      The sequence starts with Shammi singing Megha re bole… and then it switches to Asha, who sings Bade hain dil ke kaale in response.

      Here it is; enjoy!


  6. Anu ji,
    I am simply floored with your imaginative post !
    It is just wonderful.To see 2 popular heartthrobs,in similar situations,
    My God,hats off to your creative mind.
    It is a treat indeed.
    Let me first enjoy it,then I will start thinking and may be contribute something later.
    -Arunkumar Deshmukh


    • I agree. When I was compiling this list, I kept coming across songs in uncannily similar situations – and invariably, Shammi’s songs were vastly different from Dev Anand’s. Shammi was so energetic, so vibrant and physical. Even when Dev Anand was dancing around (for example, in Haai haai haai yeh nigaahein from Paying Guest) he never was a fraction of how wild Shammi Kapoor could be.


        • I am always there to support Dev of the 50’s & the 60’s, & even the 70’s :)
          However, I also like Shammi as a close second, and I think he is the best in Teesri Manzil.


        • @Ava: “No, Dev could never have acted wild. But yet.. my heart beats for Dev.”

          Me too, me too! And mannerisms, pfft! For mainstream Hindi heroes, it’s de rigueur :-D Paying public REFUSED to accept them otherwise, no? Madhu, a theme perhaps for one of your future posts? Which are the atypical film of the big heroes where they veered from their image which invariably bombed?

          And lovely post by the way. Thanks.


          • Thanks, Suhan – and for that suggestion! Wow. That’s going to be a toughie. I don’t think too many Hindi film heroes in the good old days veered from the straight and narrow of what the public expected… comedians and character actors did, occasionally (Tarun Bose in Gumnaam, for instance, or Mehmood in Ek Saal). Offhand, the only film I can think of which had a lead actor play a very different role – a silly-looking, socially inept buffoon – was Sunil Dutt in Padosan. And that didn’t bomb, not by a long shot.

            Hmm. This has got me thinking. :-)


  7. Cheers, cool list.

    Re-Prabhu Dayal — we were wondering what roles he played. I found out that he plays Nirupa’s absconding husband in Munimji!


  8. Hats off to Anu for coming up with the idea, and my hats off to you for coming up with the situations and the songs and then writing about them! I have just gone through the post, and now I wish I had a few more hours in the day so that I can listen to each one of them, but it is late already, so the listening will have to be done, maybe one or two songs at a time, during the day tomorrow. Just thinking about it brings a smile to my lips, since both those heroes are my favorites, especially Dev Anand of the 50s and the 60s (you know why!), so I can go to bed looking forward to tomorrow! Until then, I can hum, Main gaoon tum so jao … or … (scratching my brains, trying to come up with a Dev Anand lori – oh well, I don’t think he ever sang loris!) Okay, then, this will have to do:
    Tu kahan yeh bata …! We are dealing with dense fog these days here, and I was singing this song last night, driving home!

    Thanks again, for the double treat in store for me!


    • Thank you, Lalitha! Yes, this post took a lot of effort, but all of it was fun effort – I enjoyed myself thoroughly. :-)

      Incidentally, in the course of creating this post, I too was wondering if there were any lories picturised on Dev Anand. I can think of two filmed on Shammi Kapoor – one, of course, is Main gaaoon tum so jaao; another, though a little unconventional, is Dheere chal dheere chal ae bheegi hawa from Boyfriend:

      Tu kahaan yeh bata is the perfect song to sing on a foggy evening – we’ve been having a lot of those in Delhi these past few weeks, too.


  9. Now my dear Madhu, I have a thought, the awards season is on both here and abroad and I think it is high time an award for the Best Film Blog Post was instituted, if I had the means I would start it but alas… I cannot. I am sure this post would feature somewhere on top. I for one would vote for this one, mainly for the effort that has gone into it.

    Here is my contribution to this post, although Shammi Kapoor isn’t driving in this one, he is seated in a tonga along with his heroine and I think in this one to he has just met his heroine Amita.


    • Shilpi, you are too sweet! Thank you so much – I’m glad you appreciated the effort that’s gone into this post (though I’d say Anu’s creativity too wins).

      I love that song from Tumsa Nahin Dekha. Yes, you’re right; Shammi Kapoor’s character has recently met Ameeta’s character – they’ve travelled in the same train compartment, and have quarrelled all the way. When they alight at their destination, they find only one tonga there, and Shammi bullies her into sharing it with him.

      Since we’re talking of similar situations, here’s a ghoda-gaadi song featuring Dev Anand and Madhubala: Sach kehta hoon bahut haseen ho:

      This one’s different, though, because she is in love with him.


    • Thank you! Actually, I’d been thinking of putting ‘Driving along in a ghoda gaadi with one’s sweetheart’ as one of the situations; I’d then have combined this Dev Anand song with this Shammi Kapoor-Bina Rai song from Vallah Kya Baat Hai:

      But that only remained part of the shortlist; it never did make it to the final list of songs!


  10. Lovely post, Dusted off, and great idea, Anu. Really enjoyed this. I love both Dev and Shammi, enjoy both their distinct styles. And both have such fabulous songs filmed on them.


  11. At last I had some time to go through this post. I had so much to do in the last few days and my the post for my blog was pending as well.

    Dev and Shammi so different and then still in so many common situations!

    Wow, a greast post!
    I can just imagine the effort which has gone into this post! heavy research goes with such a post! Hats off!
    Thank you, Anu, for initiating the post.
    the songs are all so nice and lovely!
    I think this post is sort of a study not only on Dev and Shammi but a study on plot situations of the 60s. If anybody wants to know the age of 60s in Hindi films, I think this post summarizes it quite fine!
    Loved every moment of reading this. Thanks!

    Tonight I will try to think of a common situation between our two heores!


    • I think this post is sort of a study not only on Dev and Shammi but a study on plot situations of the 60s.

      I was thinking the same thing when I was working on this post. There were many cases where I thought up a song with an interesting situation to it – say, a song picturised on Shammi – and then began searching in my mind (and my database) of a similar Dev Anand song… and, instead, came up with songs on similar situations picturised on joy Mukherjee/Biswajit/Manoj Kumar/Shashi Kapoor, etc.

      Thank you so much for the appreciation. :-)


  12. Dev and Shammi singing to the moon.
    Both of them asking it to stop or at least move slowly in the sky so that the night lasts longer.
    dheere dheere chal chand gagan me from Love Marriage

    aye chand zara chuup ja from Laatsaheb


    • We think alike! This was Situation #9, down to the exact two songs. I then dropped it, because I thought the theme was the same, not the situation. That song from Laat Sahib is a particular favourite of mine, though I don’t like the film much.


      • Really! Wow! Great minds think alike, what?

        “I thought the theme was the same, not the situation”
        The situation is not the same? How? Am just curious to hear your interpretation. :-)


        • Okay, I’m not sure if I’ll be able to put it down exactly, because I’m a bit fuzzy about this myself… but, if you look at the ‘Trying to earn some money’ situation, the situation is the same, but the way it’s handled is different. I know that’s not how it works in all the situations – in the picnic-crashing situation and the following-a-girl situation, for instance, the theme is also the same. Both songs are structured similarly and the sentiment is the same.

          One major difference I saw in Dheere-dheere chal and Ae chaand zara ruk jaa was that in the first they were a married couple, in the second they weren’t. Maybe that’s a silly little difference on which to reject a pair of great songs, but anyway. I still love Ae chaand zara ruk jaa, in particular!


  13. Absolutely wonderful post, really loved it. Of course, in my case, this is like preaching to the choir, but why not !!!
    Harvey always accuses me of introducing Dev from the 70’s ;), so I will also introduce Shammi from the 70’s.
    And the situation is —
    Both romancing a much younger woman, in fact the same woman ;)

    Dil Use Do Jo Jaan De De

    O Mere Raja

    Hey, this is how I found both of them, and I still liked them ;)


  14. (Dies seeing two of her favorites Dev and Shammi are the heroes of the post), (dies seeing that Asha and Nutan, two of her favorite heroines, are also here), (dies seeing that some of her favorite movies and songs are featured here as well)…phew now that I am done dying onto savoring the post…thankee thankee ever so much :)


    • :-)

      Yes, this post certainly gave me lots of opportunity to drool over the entire lot of them – Dev Anand and Shammi Kapoor of course, but also the ladies (I love Nutan and Asha Parekh too) and the movies. What movies they made back then…


  15. Yay! Another post about Dev! -does a jiggly wiggly dance- I love Shammi Kapoor too – the wildness, his songs, everything is great about his movies! Is it counted as a bad thing that I knew everything in this list offhand? They were both great romantic heroes – and the songs that they sang… just pure magic! ;)

    I’m off to go and stuff this in my friends’ faces! -walks off laughing like a maniac-


  16. Hey!! Dusted off, can you please provide the video of the song Halke Halke from Shammi Kapoor’s 1955 film Tangewali? It’s not available on youtube.com, only audio is available.


      • Where do we get the film’s DVD? It’s not available either…Please do let me know…thanks for the reply!! One of the best filmy blogs I have read recently!! Good job!!


        • I don’t think it’s been commercially released. The most dependable online retailer for DVDs etc is http://www.induna.com, and I’ve checked there, but they don’t have it either. Plus, in all my searches in stores for Shammi Kapoor’s lesser-known films, I’ve never come across this one.

          P.S. Thank you. :-)


  17. I have been sick as a dog for the last four days – good thing I didn’t go to Delhi – and feeling sorry for myself. I decided to cheer myself up, and this post is just what the doc ordered! Thanks again, Madhu!


  18. I read this awesome post long back and thought that I had already appreciated your efforts but while going through this post again I noticed that I didn’t appreciated you for this lovely post.Though I like your ideas and choices but this one was simply amazing and the best in my opinion.What an intelligent idea(compliments to Anu).And no doubt it would have taken a lot of efforts and energy of yours.Your choices really fits the situations.
    This was just an amazing post.Thanku so much.


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