Hindi
Yash Raj Films partners 99Games for ‘Fan’ game
MUMBAI: After partnering for the Dhoom: 3 The Game, Yash Raj Films and 99Games have joined hands once again to launch a game of the film Fan starring Shah Rukh Khan.
Fan: The Game revolves around the journey of an ardent fan and the challenges he encounters to meet the superstar he idolises. It’s a game about connections. Fans can connect with Khan at his residence Mannat, in a film studio, in a cinema hall or simply at a mall and prove that they are his Sabse Bada Fans!
Yash Raj Films vice president of marketing and merchandise Manan Mehta said, “We take our job of entertaining our audience very seriously. Whether it’s a cinema screen or the mobile screen, the audience engagement matrix is our big priority. With 99Games and in particular with Rohith, we have realised that we have a common approach to business – audience centric. And as a natural progression of any good relationship, we are very thrilled to launch our product Fan: The Game in partnership with them. We believe that the gamers will really enjoy the gameplay that boasts of multiple levels and offers the opportunity to collect exciting gratifications.”
“After the phenomenal success of Dhoom: 3 The Game, with incredible player reviews and feedback from over 20 million downloads, we are excited to work yet again with Yash Raj Films to build a stellar mobile game for YRF’s Shah Rukh Khan starrer, Fan. The game will have avenues for players to connect with the superstar and a chance to come face-to-face with their idol in real life. As more and more consumers will be on the lookout for great local content, we will continue to push our boundaries to create high quality entertaining games. Working closely with YRF will be part of that strategy,” said 99Games CEO Rohith Bhat.
Yash Raj Films’ Fan is slated to release on 15 April.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
