Whether in his teasing, romantic songs in Munimji and Paying Guest, or in his lighter but philosophical songs from his earlier films like ‘Mere labon pe dekho aaj bhi taraaney hain’ (Baazi), ‘Chaahey koi khush ho chaahey gaaliyaan hazaar de’ (Taxi Driver) or ‘Oonche sur mein gaaye ja’ (House No.44), Anand relied solely on his facial expressions and the inimitable way in which he moved his head to enact most of these songs. Dev Anand was possibly the most limited of the three.
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