Tehelka (1992)- Why Dharam is garam

I know it’s been a long long time since I updated this blog, and since the reasons demand a completely new post I won’t dwell on them. And yaa…I know the 10 comic Hindi movie list is still not complete, but I had to absolutely write about this movie after I read Memsaab’s review of Ajooba.

Now you might think there is no connection between a children’s fantasy tale with a masked hero, shaitan vazir, and a 50 feet stone monster, and a ‘garam spewing dharam’ starrer, blood bathed orgy of bad acting made by Anil Sharma, the then reigning badshah of bad ass ‘dishum dishum’ kicking movies (Elaan e Jung, Hukumat, Farishte, all starring our Dharam-man). But as you might have guessed by now- there is.

The first being that I had the privilege of watching both of them on video in a full family gathering!!  I always wondered why my dad allowed me to watch a blood splattered movie like Tehelka, but I guess he had no choice once my uncle got the cassette.  And remember those were the days when Madhuri was doing the “Choli” and the “Dhak dhak”, Karan Johar was in his nappies, Yash Chopra had made a yawner called ‘Lamhe’, and god knows what was Sooraj Barjatya doing after ‘Maine Pyar Kiya’.  Okay, I can see that you have got the point…there were no options!!!

The second, and the actual reason for the Ajooba connection, is that we kids (like all kids) used to play quite silly games, and one of the favorite was playing Ajooba.  After watching Tehelka that game was modified, so we had  Ajooba, and the Tehelka vigilante team fighting Vazir, and the Dong (who btw is never wrong).  And since it was the time before Harry came and taught everyone the actual use of a broom (to FLY!!!!) we simply used them as guns, and swords, and guns which Ajooba’s magic would turn into swords.  It not only was fun, but also convenient because that meant that more people can play the “heroes”, so it meant lesser fights among cousins.  Although I’m not sure if our parents ever appreciated our ingenuity, they thought we were not fighting because we are “all grown up”.

Tehelka starts off with an introduction to ‘Dong’, dictator of ‘Dongri-la’, a typical bollywood-ean ‘padosi mulk, jiski buri nazar Bharat pe hai’.  Dong, played maliciously by Amrish Puri (who else) is a blood-thirsty despot, who is given little touches to show that he is not Indian (hakka noodle, nudge nudge, wink wink). He kills his own men if they are two minutes late, smuggles drugs, arms, wants to destroy India, and basically is typical Amrish.  The only additional evil is smuggling Indian women, making the good looking ones prostitutes, and brainwashing the mediocre looking ones into becoming suicide bombers (inspired by Rajiv Gandhi’s assassination).

To make it more contemporary, ‘Gadar’ Sharma provides Dong with numerous look-alikes (ala Saddam Hussein), using whom he enters India, sits inside an Indian-army tank, enters the Army parade, and blows up India’s Army Chief (poor Parikshit Sahani), ala Anwar Saddat (nudge nudge, wink wink)

But why would he play the veena (or Sitar?), holds feasts for brahmins, keeps fasts, and above all speak fluent hindi, and sing “Shom shom shom shamo sha sha”? Ahhh…who cares as long as there’s Dharam to kick ass.

Now, coming to Dharam he plays a disgraced Army major Dharam Singh, who got suspended from the army after he killed a thousand (yups, 1000!!)  of Dong’s soldiers against the orders of his superior (and you thought his Sonny boy taking out a handpump was friggin’ awesome).  He is majorly pissed off,  which explains why he wants to put “ghunghroo on my feet”.

He is met by another pissed off major, Krishna Kant (hereafter KK), played by Mukesh Khanna.  Now Krishna Kant is pissed off at both the Dong (for first kicking his ass, and then taking away his daughter), and his boss Brigadier Kapoor (Shammi Kapoor, wasted) for not allowing him to attack Dong.  He persuades Kapoor to send a crack team of elite commandos that are best in India, and they include: Javed Jafrey, Naseeruddin Shah, Aditya Pancholi (seriously, commandos, India’s best!!!! I think Anil’s budget was exhausted on Dong and his Dongri-la), and Ekta (the mandatory siren, I had no idea who she was until I googled her).  Now, since apart from KK the team has no real men (the 3 idiots dress up in a drag), and he needs to increase the maa-cho quotient he hires the Dharam-man, who has one condition- he won’t take orders from anyone (WTF!).

Now allow me to do my arbit, and talk about Mukesh Khanna for a while.  The man was ruling Indian tele in those days as the grand ol’ daddy of all (Bhishm in Mahabharata), and possesses an amazing baritone perfect for maa-cho dialogues like “Badalnewali hum cheez nahin, arrey hum mard hain kameez nahin” (translated: Im not a thing to be changed, Im a maa-cho man not a shirt). His only fault was that his most popular role was a thousand years older than him, and he got typecast as daddy/grand daddy macho, so much so that in another 90’s kickasser “Yalgaar” he actually played Feroze Khan’s father (maa-cho father that is).  I wonder how many deaths he was dying when he called Feroze, who probably was older than his father “pyaare bête” (lovely sonny boy).  But Mukesh had his revenge, when at a ripe age he played a superhero in a televised serial “Shaktiman” that became all the craze.  (he produced it is a different matter altogether!)

So, here he was doing his Gandalf bit to lead his fellowship to Sauron’s den.  As usual, with such trips there are steep mountains to be climbed (during which KK is revealed to have a fake leg), thin ice to be walked on (during which the siren would fall down, and Aditya Pancholi would save her, but not before killing a green python, and then getting ‘some’ ), a hole up in a hospital, where the ‘ladies’ try to operate KKs legs (at least they were making themselves useful), an addition to the gang, a traitor in the gang, a traitor outside the gang, cute kids, cute kids dying, urine passed off as water, and drunk (by Dong’s men obviously), and all culminating in a grand finale where the team of Indian “crack” commandos kill and finish the entire Dongri-la army (and you thought you have seen it all in Gadar).

Dharam is in full blast, and he is the reason this movie was made- to show that Dharam can kick ass, and beat the crap out of anyone. In one of the scenes, when the traitor is holding them at gun point, and trash talking, Dharam shoots him and says “when you wanna shoot, shoot, don’t talk” (in Dharam-inglish) , Mukesh Khanna is awesome, but only if you can withstand the trite dialogues (and the movie is full of them).  Amrish as usual is all evil (so whats new?), it was cartoonish to have him play the veena (or Sitar? I can’t tell the difference), but he does that with such evil perfection, that you want Dharam and gang to kick his ass, and this is where Amrish was so good.

The movie was made at a time, when the producer’s were vary of naming Pakistan (i still don’t understand why), and almost all the spy movies either referred to ‘padosi mulk’, or simply made Chinese sounding noises like bum chiki chiki bum.

Its edge of the seat, extremely cheesy, extremely jingoistic with bombastic dialogues (KK, Dharam, and Dong are in full form), poor special effects (and they were ‘special’), and some great dhishum dhishum. In short full 90s kickassery!!


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Anita 1967- Mystery woman

Work and other stuff (mostly other stuff) has kept me away from blogging for about 2 weeks now. But for this week Arbitenthu is back with Anita. Ya, I know I promised to write about Angoor last time but my Arbit struck me again.

As I have aged to the ripe ol’ age of 24, I have realized that a lot of my old DD favorites have come from a man known as Raj Khosla.  He was single handedly responsible for delivering many lazy weekend afternoons, where me and my brother used to be glued to the idiot box watching movies like Mera Saya, Mera Gaon Mera Desh, CID, Solva Saal (the title may raise eyebrows today, but it’s a charming movie starring Dev Anand and Waheeda Rehman, remember “Hai apna dil to awara”). Anita (1967) is the third part of what is now called the “Sadhana Trilogy” by Raj Khosla, with Wo Kaun Thee (1964), and Mera Saya (1966) making up the other two.

With counter parts as illustrious as these two, it was surprising that Anita never caught on my radar. I chanced upon this relatively lesser known piece (atleast to me) at my local DVD store, and vaguely recalled reading about it somewhere at Memsaab’s, and then in a classic case of enthu getting the better of me, got the disc.

Anita stars the beautiful and mysterious Sadhana in the title role, with Manoj Kumar playing Neeraj, her love interest. The mysterious tone of the movie is set in the first scene itself with Anita’s father Seth Biharilal (Sajjan) visiting an astrologer with his daughter’s janamkundli (birth chart), and the astrologer making dire but vague (as usual!!) predictions about her. We then cut to her house where Neeraj is wooing her with a Mukesh classic “Gore Gore chand se”.

We learn that Neeraj is eager to marry Anita, although she is a bit vague about it and her father completely against it (as usual!!). After a tiff with her father she asks Neeraj to marry her the same day. While they are getting married at the registrar her father arrives and following a quite word she goes with her father leaving Neeraj high and dry.

Neeraj is obviously shattered, and when he goes to her house, he meets Anil (no idea who he is, not even on imdb but has a sight resemblance to Dharamender), who is all set to marry Anita. Even more bewildered Neeraj talks to her and she tells him to forget her. Neeraj, now completely depressed resigns from his job, but instead his manager transfers him to Delhi. There he receives a telegram from Anita saying her life and izzat are in danger. He rushes back to Bombay just to hear that she has committed suicide. Not only that but she was pregnant when her body was found. Whew!!!! and all that in less than 20 minutes……

Neeraj being the pious hindi movie hero could not have done this (obviously!!) so he starts the search for the person who did IT, and his search begins with Anil. Anil himself is in agony as he was about to get married to Anita, but tells Neeraj about her “other side”.

Anita was diagnosed with a “split personality disorder” while in Shimla a few years back. She was found dancing with nomads to a naughty number “Pichhware budhha khansta”.  When Neeraj refuses to believe this Anil shows him a portrait of Anita, and what a portrait it is!!! Sadhana is shown in orgasmic ecstasy, chewing her necklace, and almost topless, in what could be one of the most sensual portrays of a contemporary hindi movie heroine.

Neeraj, now shocked at how little he has known of Anita, meets the painter (IS Johar), whose favorite pastime is to kill flies (makhii maarna). He tells him of a story when he met Anita on board a ship, and she seduces him with the song “Kareeb aa”. Sadhana is looking smoking hot!!!

Neeraj is losing himself and is starting to see Anita everywhere, but on one such sighting he is convinced that he has seen Anita indeed. He follows her to a mansion (haunted obviously!!), and assigns the investigation to a private detective (Dhumal and Birbal). What follows is a compulsory and unnecessary side plot with Tuntun and Mukri also joining in the fray. I’m all for comic side plots, but the movie was running so tightly that the sight of Dhumal & Co is frustrating.

The story moves with Neeraj going to his brother’s house in Nainital, and no prizes for guessing that he will see Anita there again. This time he actually gets to talk to her, but she is not Anita but Jogan Maya, an ascetic. Neeraj wants to be with her, she agrees to meet him everyday but on the condition that he does not follow her (she even marks a tree as his boundary..phew!!!). One day she doesn’t appear, and Neeraj with his bro and sis-in-law crosses the boundary, and voila!!! we find that Jogan Maya had died 25 years ago.

By this time I’m completely zapped, Raj Khosla has done a wonderful job in catching your attention till this point, but then everything comes apart. Starting with Neeraj meeting Anita again, this time clad in a burqa in the train back to Bombay from Nainital. The revelations that follow are well, to say the least disappointing. It leaves more questions than answers, and everything seems made up just for the sake of creating suspense.

The direction is typical Raj Khosla, with lots of mirrors, and window shots. He has shot Sadhana in the most exquisite possible manner, and has bought out all shades of sensuality, vulnerability, and helplessness in her character. She fits the bill of a mystery woman to the core. Manoj Kumar is just about OK, although his character had to look confused and hurt all the time. I felt music was a major let down, which probably was the reason I hadn’t heard of Anita. Although “Gore gore chand se” is a must listen for Mukesh fans (been playing continuously on my playlist).

The movie grabs your attention from the first scene, and moves at a breath neck pace (the side plot is irritating though). What let the movie down is the climax, which was sudden, and hard to believe, and contradicted many of the previous events.

In spite of all the flaws Anita is a fine movie, but falls way short of classic thrillers like Mera Saaya, Ittefaq or Humraaz.

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Top 10 Hindi Comic Movies: Pyaar Kiye Ja

I remember watching this movie for the first time on Star Gold when I was in Class XII. Those in India would know that XII means the dreaded board exams (those in US, think SAT, add tonnes of parental and peer pressure, double it, double again if you have an over achieving family, and just for fun double it once more, then you might be close to what Im talking about!!!). It was a sunny morning in the middle of February, and the pre-boards were just over (pre-boards are like jumping from 100 ft, just so you know how it feels before you jump again), and I was expected to be deeply burrowed in my books, except I wasn’t. I was watching this classic of a movie, whose absolutely hilarious sequence between Mehmood, and Om Prakash I had seen on numerous Hindi movie shows, accompanied by Dad’s lavish praise had gotten me hooked. And I wasn’t disappointed. (although got an earful from mom which included her favorite “Watching movies all day…What do you wanna do when you grow up, cut Grass?”…..Yups, I too never got the connection.) Ok, enough arbit, now to the movie.

Pyar Kiye Ja begins with Ashok (a very young and thin Shashi Kapoor) who comes from a poor family, and has a job as an assistant manager at Ramlal’s estate (Om Prakash). Ramlal has two daughters, Malti (Kalpana) and Nirmala (Rajshree, not to be confused with the one in Janwar, this one is from Tollywood!!). It doesn’t take long for Ashok to fall for Rajshree, but before that in true 60’s hero style he completely pisses her off. She has him fired from the estate, and what follows is a hilarious song and dance sequence, where Ashok and a few extras camp in front of Ramlal’s bunglow and protest with the song “Kehne ki nahin baat”, and dance in gay abandon, including elvis-inspired pelvic thrusts.

The song that follows is hilarious, with lyrics like “Ye 420, nai ye 840”, and “Ramlal ye khaye maal”, and both daughters spraying buckets of water on the gang.

Ramlal also has a son Aatma (Mehmood), and all he wants to do is to produce a movie under his Wah-Wah Productions (which Mehmood would later reference in the cult hit Andaz Apna Apna). Aatma already has a heroine Meena (Mumtaz) signed up, and he keeps pestering the miser Ramlal to finance his movie, which leads to some of the funniest moments in the movie. Including my favorite sequence, where Aatma is describing a scary scene from his movie to Ramlal along with his own background music of creaking doors, blowing wind and chudail’s (witch’s) laugh, and their reactions are hysterically funny. The story goes that while filming that scene Mehmood asked OP to give his natural reaction to whatever he is saying, and the take was okayed at first go. I can’t vouch for its authenticity, but that sequence is one of the best in Hindi Cinema.

Eventually Nirmala also falls for Ashok, but all is still not well. Apparently it is easier to patao a pissed off girl, but not so easy with a pissed off father. So, while Ramlal is searching for a millionaire groom for his girls, Ashok calls his millionaire friend for help. Shyam (Kishore Kumar) arrives disguised as Ashok’s rich father, and the greedy Ramlal agrees to the match.  Now Shyam is romancing Malti in Bombay, but that doesn’t stop him from hitting on an oblivious Malti dressed as Ashok’s father in a brilliant song “Pyar kiye ja”. Malti obviously is not amused, but more fun ensues, when Shyam’s father Devraj (Chaman Puri) arrives, and it turns out that Ramlal and Devraj are chuddy-buddies, and arrange a match between Shyam and Malti (who still doesn’t know that Shyam and Devraj’ son are the same person). So much happening, along with the Mehmood sub-plot makes for a rollicking ride that culminates in a long climax, as truth tumbles out.

The movie has a lot going for it; crazy performances by both Kishore Kumar, and Shashi Kapoor, a brilliant Om Prakash, and a stand out performance by Mehmood. This has to be Mehmood at his finest. Also Mumtaz was an inspired choice, and she easily outshone the other two leading ladies, who looked too chubby, and too made up. Mumtaz on the other hand was charming, looked like a million bucks, and danced her way to “ai ai o, ai ai oo”.

Songs were another highpoint, not so much because they were classics, but because of their mad choreography, and lyrics. My favourite is “ai ai o”, which is hard to get out of your head inspite of lyrics like “mein bhar ke layi jholi, par chonch na tune kholi jaalima, ai ai o, ai ai ooo”. Somehow, whenever I hear this song I imagine it with Shammi instead of Mehmood doing the shimmy shimmy, and Rafi in the background. Although Mehmood was very funny in this song, but it sounds more like a Shammi-Mumtaz combo hit.

This was a remake of a telugu movie, and was unashamedly copied by David Dhawan for his 1999 hit Haseena Maan Jayegi, which wasn’t a patch on the original. Highly recommended for a lazy weekend afternoon.

Next up Angoor.

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10 Best Comic Hindi Movies : Chupke-Chupke

Well, lets get the most obvious one out early. Chupke Chupke was not the biggest of hits when it was released but like good wine has matured the best of all its contemporaries. I saw this movie for the first time on Door Darshan’s famous Friday night shows when I was around 10, and have lost the number of times I have seen it since then. It also happens to be one of only 3 movies that Dad allowed us to watch on Friday night (yups….lights went out at 10 for us).

The movie starts with Dr. Parimal Tripathi (Dharmender), and  Sulekha (Sharmila Tagore) meeting and falling in love at a Dak Bangla in Shimla. Sulekha is a botany student, who has come there with her fellow student on a study tour, and Parimal (how did they come up with such a kickass name!!) is a much revered botany professor. The movie keeps the courtship period short, but it’s much fun with Parimal playing the chowkidaar, and serving the girls. We then quickly move to Allahabad (beautifully pronounced as Illahabad), where a pandit-ji and Haripat Bhaiyya (another cool name!!!) played by David, fix the marriage. Now, Sulekha is in complete awe of her jeejaji (pronounced jijjajji rather cheekily by Parimal who gets a bit of a complex), but the jijjajji (Om Prakash) is not able to make it to the wedding. The fun begins when after marriage the couple gets an invite to jeejaji’s house in Bombay, and Parimal plays a practical joke in which he first arrives as a driver (PyaareMohan, really the names are such fun), who speaks pure Hindi because jijaji wants a cultured driver from Illahabad. Now the stage is set: A driver who speaks pure Hindi, and is then bent on learning English from the genius ji (mera matlab jijjaji), a flustered, frustrated jeeja who is driven to the brink by the driver’s antics, and later on is made to believe that her saali (Sulekha) is having an affair with that driver, another Parimal shows up (AB) and starts having an affair with jijiajis friends sister (JB), whole lot of confusion, hilarity and a satisfying conclusion.

The main leads Dharmender, and Om Prakash are top notch and have excellent support from Sharmila, AB, JB, Asrani, David and Kesto Mukherjee. Om Prakash was in the form of his career, from his initial reaction to Dharam asking his wife to call him Pyaare, to his frustration at Pyaare’s irreverent questions about language, to the point of a complete break down and then behaving almost non-chalantly is epic. Watch out for his lip movements when he is cursing Pyaare, but can’t actually make the words come out. Along with Pyaar Kiye Ja, this is Om Prakash at its best.

About Dharam, you can only marvel at the way he effortlessly portrays the role, how much fun he was having while essaying his character is evident in every scene. Starting from his interactions with Sulekha as the chowkidaar, to his banter with Jijjaji, to his flirting with Sulekha in front of the jijjaji as the driver, and as the mastermind of this elaborate scheme he is absolutely perfect. You would not believe this is the same person who a decade later be famous for the “Kutte” dialogue. I always wondered why he is better known for his action roles, rather than his more matured, romantic, and comic roles from Bandini, to Satyakam, and from Chupke Chupke to Dillagi. For all this he deserves a separate post altogether, may be some other day.

Back to the movie: Sharmila was adequate, although she did look a bit old to play a student (even a post-graduate one). AB was the surprise package, almost absent in the first half, he more than made up with his portrayal of a confused, flustered, always in a hurry Prof. Sukumar in the second half. I believe this was one of his earliest comic roles, and his fast-paced nervy dialogue delivery gave a new dimension to the movie. JB playing Asrani’s assured and bright sister Vasudha (“v.a.aSs.u.d.h.a, wo nai tu hai Ass,” this dialogue is etched in my memory) is a perfect foil for Sukumar who instantly falls for her. Every character is memorable, from James (Keshto), to Prashant (Asrani) to Haripat bhaiyya, all play characters that are enjoyable, but also easy to identify with.

All this is tied up with a simple, hummable score by Burman Sr. (Respect!!!). It never overshadows the movie, and at no time does it feel like an interruption (may be the JB song “Chupke Chupke” could have been edited, but minor complain in an otherwise perfect movie). Ab ke sajan saawan, is a nice ched-chaad song, whereas “Sa re ga ma” is joie de vivre. Dialogues by Shakeel Chandra are simple, contextual and he never tries too hard to make you laugh.

And of course for all this credit must go to the ultimate mastermind of this scheme: Hrishikesh Mukerjee.  He never loses his grip on the story, and even when towards the climax when so many things are happening at the same time he never let them fall apart. What is left when the credit rolls, or in this case Om Prakash says ‘Namaste’ is a sweet and a satisfying after-taste.

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Movies and me

I have been a hindi movie fan for as long as I could remember. It all started with watching every single weekend evening show on DD that came with one interval and no ad-breaks. I think it went on till 1992, after which commercial breaks between movies debuted. It mostly used to show black and white movies, and just to drive the message home, a scroll with “Black and White” and “Shweat Shyam” written used to run on the top of the screen. That was my introduction to Raj Kapur, Dev Anand, Dilip Kimar, Nargis, Madhubala, and a rare treat of a colored movie meant Dharmender, Sanjiv Kumar, Rajender Kumar, Shammi Kapoor, Sharmila Tagore, and Hema Malini.

Then DD Metro debuted and black and white movies became rarer. That was the time when Shashi Kapoor, Jeetender, Dharam in his Garam avatar, Rishi Kapoor, an occasional Shatrughan Sinha, an eagerly anticipated Amitabh Bachhan, and 80s vintage Mithun and Govinda began to appear more and more often. But it was all a treat, not more because they appeared only twice a week, but also because the movie, its action, story, suspense, the fights were all discussed on the way to school on a Monday morning. The excitement of grabbing the Sunday newspaper, turning on to the second page and finding which movie will play today was matched only by waking up at 6 o’ clock rubbing your eyes and running out to play gully cricket.

And then cable TV appeared, and it with its deluge of movies, all new and old, killed the romance. Your favorite movie might be playing on a channel, but an ad-break 2 minutes later will make you flick away and in 5 minutes you will forget about it. This was not the case when I was growing up; a movie had to be seen, a good movie had to be seen even if it meant studying late in the night for an exam next day, it was to be discussed, dissected, analysed, sometimes played out over and over in your mind.  The lack of choice was a good thing. It meant watching Mere Mehboob, and wondering why the hell are your mom and grandma shedding tears, it meant getting excited on a Shammi Kapoor movie because you know the first half would be funny no matter what, it meant eagerly waiting for AB to kick some ass.  It also meant (and Im confessing it now) stealing guilty glances at Sharmila Tagore in Kashmir ki Kali, getting lost in Madhubala’s smile in Kala Paani, and not being sure of what to do when Helen appears in a cabaret number (yaaa..those were the days!!!).

With so many memories associated with Hindi movies, they had to be a part of this blog. So I in my arbit induced enthusiasm began working on some of the best bolly movies I have seen. And I thought why not list and talk about the best comic Hindi movies? Why comic you ask, I don’t know it was an arbit decision. Could have been romantic, or suspense but comic it is for now. So after over 4 hrs of arguing with myself I came up with a list of 10 best comic movies I have seen. So starting from today I promise to myself that I will write about these 10 movies with the same passion that I have enjoyed them, and if I’m not able to keep that promise, then who cares it’s a promise to me and I can break it if my arbit desires.

P.S: I use arbit as both a noun and adjective. Go figure.

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Arbitenthu- The Beginning

So after months of fantasizing about having a massive  internet following, getting mentioned in innumerable blog-rolls, and becoming the ‘betaaj badshah’ of the blogosphere, today I set about to actually do IT. Have an own blog, and hopefully keep it updated.

So what happened today? Well, if you know me (chances are that you don’t!!), you would know that I suffer from that very acute and complex sociological phenomenon that is yet to be identified.  I must credit my friend, who might be the second smartest person I know for first recognizing it, and then naming it.

I suffer from ‘Arbitrary Enthusiasm’ or Arbit-enthu for short. In medical terms it means nothing (not yet), but it signifies the state in which a person (most likely me) builds up a lot of adrenalin for doing something (as simple as taking a bath, to as complex as…well you figure it), thinks about it, talks about it, spends hours (nay eons) dreaming about it, and then loses interest.

Yes, simply loses interest, mainly because a) He’s too lazy, and b) No, he’s just too lazy.

Today, the Arbit enthu bug struck me again, and for a change I actually signed up on WordPress.  I seriously believe that this would be my contribution to mankind’s better understanding of mankind. It would help understand how an arbitrary mind functions, what does it thinks, why does it thinks, what does it do what it do. How does it move from a Jagjit Singh to a Barbara Streisand to becoming a hot shot consultant to thinking about the hot babe who resigned from office today. Or on second thought, may be not. Its arbit!!

But for now let the drums roll, for this blog is my new Enthu, with a capital E.

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