Hindi
Box Office: ‘Dilwale’ pips ‘Bajirao Mastani’ to collect Rs 63.6 crore in opening weekend
MUMBAI: The much hyped Shah Rukh Khan – Kajol starrer Dilwale suffered heavily due to protests leading to cancellation of screenings at various cinemas in many cities following ‘intolerance’ comments from Khan and resultant anger among people.
Nonetheless, Dilwale has managed to pip the other multi-starrer release Bajirao Mastani starring Ranveer Singh, Deepika Padukone and Priyanka Chopra to collect Rs 63.6 crore at the box office in its opening weekend.
Dilwale’s collections were satisfactory on its opening day though they could have been much better. On day two, there was no improvement. The agitation and appeals to people to keep away from the film through social media, Whatsapp, SMSs etc could be a reason why some cautious people may have thought it prudent to keep away from cinema halls screening the film. The movie’s collections are showing a drop today (Monday).
On the other hand, Bajirao Mastani met with mixed response to extremes; while some even called it a masterpiece, others found it outright bad. The movie collected Rs 43.2 crore in its first three days. While the casting of the film affected its opening day footfalls, the reactions after the release of the film only added to these feeling. The film had a weak opening on day one and showed a marginal improvement on Saturday and a marked rise on Sunday but has dropped today (Monday). The film was not able to cash in on agitations against the other release of the week, Dilwale which faced cancelled shows at many places.
The Silent Heroes, a film about training of deaf and dumb students to venture into mountaineering, failed to register.
Hate Story 3 continued its stronghold on the box office. The film has collected Rs 9.45 crore in its second week taking its two week total to Rs 44.85 crore.
Angry Indian Goddesses collects Rs 75 lakh in the second week to take its two week total to Rs 2.25 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.
