Hindi
‘Dirty Politics’ collects Rs 4.2 crore at box office
MUMBAI: Badmashiyaan, a film sans face value and amateur script and handling, with exams season to contend with, adds to the year’s disaster list. The film had one of the poorest opening day with collections ranging around Rs 10 lakh; thereafter, any improvement was irrelevant. The film managed to collect just about Rs 50 lakh in its first weekend.
The Mallika Sherawat starrer Dirty Politics does somewhat better. The film managed to put together Rs 4.2 crore in its opening weekend.
Hey Bro, a misadventure by choreographer, Ganesh Acharya, backfires. An old saying: Monies made in film industry stays in film industry. The film will prove to be a total loss of investments plus expenses incurred on releasing it. The film barely manages to cross Rs 50 lakh mark in its opening weekend.
Dum Laga Ke Haisha seems to be growing gradually by the day on strength of positive word of mouth and also due to poor oppositions limiting the viewers’ options. The film maintained steady collection in its opening week, albeit on the lower side, to end its first week with a reasonable Rs 10.64 crore. And, thanks to positive reports again, the film does better in its second weekend compared to its opening weekend by collecting Rs 6.72 crore (first weekend: Rs 6.8 crore) thus taking its ten day total to a healthy Rs 17.36 crore.
Ab Tak Chhappan adds little to its already poor opening weekend of Rs 4.4 crore to end its first week run with Rs 6.2 crore.
Badlapur: Don’t Miss The Beginning remained steady in its second week to collect Rs 8.3 crore to take its two week total to Rs 44.1 crore.
Baby has collected Rs 35 lakh in its sixth week to take its six week tally to Rs 79.6 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.
