Hindi
‘ABCD 2’ continues to rise at the BO
MUMBAI: Guddu Rangeela, coming from the same director of Jolly LLB, Subhash Kapoor, which was much appreciated and did well at the box office, proves to be a dud. Rather than a solid script, the film looked more like an attempt to cash in on the goodwill of the past film using Arshad Warsi again as a talisman.
Warsi may be a good performer but what use is a performer without a well-defined role or a script that holds? The film remained in the Rs one crore plus range through its first weekend to collect Rs 5.1 crore in its first three days.
Second Hand Husband, counting totally on Dharmendra to impact its box office, fails badly. With rest of the cast being inconsequential and the film having nothing in the name of a cogent story or script, the film just does not work. The movie hardly makes an impact at the box office remaining far short of a crore mark on any of its weekend days. The movie has collected Rs 1.85 crore for its opening three days.
BezubanIshq struggles through a legal hurdle and change of distributor before it finally sees the arc light. The film, budgeted at Rs 5 crore initially, finally reaches the cinemas at a cost of Rs 18 crore to face a disastrous fate.
Miss Tanakpur Haazir Ho fares poorly. Catering to no particular set of audience, the film manages to collect a poor Rs 1.4 crore in its first week.
ABCD 2 holds strongly in its second week backed by youth audience and finding favour with the elite multiplex crowd. The film has added a healthy Rs 24.9 crore taking its two week total to Rs 96.05 crore.
Hamari Adhuri Kahani drops to a meager Rs 1.35 crore in its third week to take its three week tally to Rs 32.3 crore.
Dil Dhadakne Do adds Rs 1.45 crore in its fourth week taking its four week total to Rs 75.1 crore.
Tanu Weds Manu continues to regale the audience in its sixth week. The film collects Rs 1.8 crore to take its six week total to Rs 151.42 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.
