Hindi
Baaghi exceeds expectations; Jungle Book continues strong
MUMBAI: Baaghi, a romance- action film and only the second film for Tiger Shroff, has with an opening response, exceeding all expectations. The film went on to cross the Rs 12 crore mark on its opening, on Friday. For a change, many single screens displayed House Full boards. The film held on very well on Saturday and excelled on Sunday to end its opening weekend with an impressive tally of Rs 38.7 crore.
Short Cut Safari, a film aimed at children remained poor. It was too amateurish even for kids.
Nil Battey Sannata could not cash in on its tax exemption in Delhi and UP and managed to put together only Rs 2.75 crore in its first week.
Laal Rang, despite rising familiarity of the moviegoer with Randeep Hooda, failed to draw viewers. The film could manage just about Rs 1.7 crore in its first week.
Santa Banta Pvt Ltd, a pathetic attempt at comedy, fared very poor. The film collected Rs 70 lakh in its first week.
Fan dropped drastically in its second week collecting just Rs 11.1 crore. The theme and the pace of the film did not quite go down well with the audience. The two week total for the film is Rs 82.6 crore.
Jungle Book continued with its triumphant march. The film collected an impressive Rs 30.7 crore from all versions in its third week to take its tally to Rs 151.5 crore.
Ki & Ka added Rs 50 lakh in its fourth week to take its four week tally to Rs 51.15 crore.
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.
