Hindi
‘Alone’ tots Rs 11.4 crore at BO
MUMBAI: Bipasha Basu’s sex appeal and skin show does not quite work at the box office as the content and treatment of Alone don’t back her up. A routine horror film with forced scary moments, which fail to scare, the film opens with tepid response.
Not a film for single screens, its magic has limited appeal even at the multiplexes, where it was aimed. Alone has managed to put together collections of Rs 11.4 crore in its opening weekend with Saturday and Sunday showing a symbolic growth over its opening day.
Sharafat Gayee Tel Lene took home a few lakhs with poor performance at the box office. Crazy Cukkad Family followed suit at the box office, its investment being total waste of resources.
I (dubbed but promoted as the Hindi version) gets better response than all other films of the week though the collections remain at below average levels as South actors and films don’t find ready takers in the Hindi market. The film has collected about Rs 6.5 crore over the weekend including paid previews on Thursday.
Tevar, with its adverse reports and weak opening, ends the first week with uninspiring figures. The film collects Rs 33.15 crore. Not much is expected in its second week.
Coming at the end of its run at the box office, Ugly adds Rs 60 lakh to its second week to take its three week tally to Rs 8.4 crore.
On the other hand, the Aamir Khan starrer PK, which is directed by Rajkumar Hirani, remains rock steady in its fourth week. The film collects Rs 12.5 crore and takes its four week tally to Rs 324.2 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.
