Hindi
‘Baahubali’ premiere on Sony Max betters Salman Khan’s ‘Bajrangi Bhaijaan’ ratings
MUMBAI: The two Bs that created the maximum buzz at the Indian box office this year were Bajrangi Bhaijaan and Baahubali – The Beginning. While the former starring Salman Khan did wonders at its recent world television premiere on Star Gold, the latter has gone and bettered its performance on the small screen.
According to TAM Media Research’s analytical division S-Group, Baahubali – The Beginning has toppledBajrangi Bhaijaan with TVR of 6.85 on Sony Max. Bajrangi Bhaijaan notched 6.80 TVR in its world TV premiere on Star Gold.
As was earlier reported by Indiantelevision.com, Star Gold emerged as the number one channel in the Hindi movie genre with the premiere of Bajrangi Bhaijaan. The movie perched itself on the sixth spot on the elite list of the Top 10 world television premieres from 2010 – 2015 as per TAM Media Research.
However, Baahubali has now replaced Bajrangi Bhaijaan in the sixth spot of the top 10 world television premiere list.
Baahubali, directed by S. S Rajamouli and produced by Shobu Yarlagadda and Prasad Devineni, was made in Telugu and Tamil. It was also dubbed in Hindi, Malayalam and French languages.
Baahubali had its Hindi world television premieres in week 44 (25 October) on Sony Max. It may be recalled that it was telecast on Malayalam and Telugu languages, earlier in October.
Baahubali in Telugu telecast on Star India’s regional channel Maa TV received the maximum TVR of 21.8, followed by its Malayalam version on Mazhavil Manorama with 16.1 TVR and last but not the least in Hindi on Sony Max with 6.85 TVR.
Aamir Khan’s 3 Idiots with 10.88 TVR leads the top ten list of world television premiere followed by Salman Khan’s Bodyguard with 9.95 TVR in the second spot. Shah Rukh Khan’s Chennai Express with 9.50 TVR stands in the third spot, while yet another Salman’s Dabangg is on fourth spot with 9.19 TVR. In the fifth position is the Ajay Devgn starrer Singham with 8.72 TVR.
In week 44 Baahubali replaced blockbuster Bajrangi Bhaijaan, which was dominating the sixth spot in week 42. Baahubali with 6.85 TVR bagged the sixth slot in the top ten list just above the Bajrangi Bhaijaan, which is in seventh slot with 6.80 TVR. In eight spot is the Shah Rukh Khan starrer Ra.One,which received 6.72 TVR and Aamir’s PK was at ninth spot with 6.62 TVR. In tenth spot is the Akshay Kumar starrer Entertainment movie premiere with 5.49 TVR.
Bajrangi Bhaijaan was heavily promoted and hence received 81 per cent promo reach and average frequency of 15.5. Baahubali, on the other hand, was promoted to achieve a 70 per cent each. Bajrangi Bhaijaan received 23.3 per cent whereas Baahubali received a higher reach conversion that is 25.1 per cent among the both the movies, on Hindi speaking market (HSM).
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.
