Hindi
Box office: ‘Phantom’ fails to impress
MUMBAI: Kabir Khan’s Phantom, starring Saif Ali Khan and Katrina Kaif, has opened with poor response. The first day figures hover around a little over Rs 8 crore. However, the film showed a reasonable jump on day two with collections growing by about 35 per cent this being a solo release with the advantage of Raksha Bandhan holiday. The word of mouth still remained against the film as the Sunday collections failed to match Saturday figures. The film collects Rs 33.2 crore in its opening weekend.
Kaun Kitney Paani Mein fails to make its presence felt at the box office.
Baankke Ki Crazy Baraat flops badly.
All Is Well fails to entertain with Rishi Kapoor and Abhishek Bachchan playing out a poor script and a patchy production. The film had a miserable opening and got worse as the week progresses to end its first week with collection figures of Rs 13.9 crore.
Manji – The Mountain Man matches the appreciation it earned from the critics and turns it to its advantage at the box office. The film collects a handsome Rs 9.45 crore in its first week.
Brothers shrinks to as much as 10 per cent of its first week collections in its second week. The film collects Rs 7.15 crore to take its two week total to Rs 76.7 crore.
Drishyam keeps box office ticking, though on a smaller scale. The film adds Rs 3.45 crore in its fourth week to take its four week total to Rs 79.95 crore.
Bajrangi Bhaijaan begins its countdown on its last rounds collecting Rs 1.3 crore in its sixth week. With this the film’s six week total stands at Rs 317.35 crore.
Bahubali (Hindi-Dubbed) adds Rs 1.4 crore in its seventh week to take its seven week total to Rs 108.6 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.
