Hindi
High Court defers Salman Khan’s appeal in hit-and-run case to 13 July
NEW DELHI: The Bombay High Court deferred till 13 July an appeal filed by actor Salman Khan against the five-year sentence awarded to him in the hit-and-run case as his lawyer sought time to check documents.
Justice A R Joshi granted adjournment till 13 July though Khan’s counsel Amit Desai wanted three weeks adjournment to check whether the documents were in order.
The actor’s lawyer said that he would need to check whether translation of any document in vernacular language is required to be done in English. He also wanted to check whether any documents were missing, in which case he would file an application seeking a direction to place them on record.
Chief public prosecutor S S Shinde consented to the adjournment date. Khan’s sister Alvira was present in the court.
The High Court had on 8 May stayed the execution of the 5-year sentence awarded to 49-year-old actor in the 13-year-old case and granted him bail while admitting his appeal.
Khan had been convicted by a Sessions Court on 6 May and sentenced to five years’ imprisonment on various counts including ‘culpable homicide not amounting to murder’.
A man was killed and four others were wounded when the actor’s Toyota Land Cruiser ran over them while they were asleep on a pavement outside a bakery in suburban Bandra on 28 September 2002.
Khan has challenged the findings of the trial court that he was drunk and was driving under the influence of liquor. The actor pleaded that the trial court had wrongly convicted him under the culpable homicide charge because he had no knowledge that he would meet with an accident.
He has argued that the trial court had failed to appreciate the fact that four prosecution witnesses including the investigating officer had said there were four persons present in the Toyota Land Cruiser when the accident occurred and that it was the family driver Ashok Singh who was at the wheel.
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.
