Hindi
‘Baby’ collects Rs 40 crore in first weekend
MUMBAI: The Akshay Kumar starrer Baby opened to a disappointing response with the first day accounting for collections that were a little over Rs 7 crore.
The promos of the movie, had raised hope among the exhibition trade of a bumper opening, coupled with the fact that it would also get an extended weekend run with Monday being a holiday for Republic Day.
Baby finished its four day weekend with Rs 40.1 crore with Sunday figures being the best.
The Sonam Kapoor starrer Dolly Ki Doli fared below average. The film, lacking a drawing power, had a poor opening and showed only marginal improvement on Sunday, which was not enough for it to sail on the safe side. The film has little to offer to help it sustain further. It ended its four day opening weekend with a figure of Rs 9.75 crore.
Crazy Cukkad Family and Sharafat Gayi Tel Lene performed poorly at the box office, collecting Rs 35 lakh and Rs 40 lakh respectively for their first week.
Alone remained average adding little during rest of the week to its opening weekend of Rs 11.4 crore to end its first week run with Rs 17.25 crore.
I (Dubbed) has not been able to live up to the promotion built around it as it were South heroes don’t find a ready acceptance with Hindi viewers. The film has managed to put together Rs 10.1 crore in its first week.
The Arjun Kapoor – Sonakshi Sinha starrer Tevar has added Rs 4.25 crore in its second week to take its two week tally to Rs 37.4 crore.
On the other hand, Aamir Khan starrer PK has collected a reasonable Rs 4.1 crore in its fifth week to take its five week total to Rs 328.3 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.
