Hindi
The cast of ‘Main Aur Mr Riight’ on promotion spree
MUMBAI: Continuing promotions in full swing for their upcoming film Main Aur Mr Riight, the cast was spotted in Jaipur, Delhi and Chandigarh during the week. Producer Pooja Gujral, director Adeeb Rais, actors Barun Sobti, Shenaz Tresury along with singers Jaspinder Narula, Jasbir Jassi and Shibani Kashyap had fun promoting it in these cities.
At Jaipur, the team visited Bhiyani College of Science and Management where they had a good time with the students, talking and dancing with them. The cast kept the students entertained with their anecdotes while the students were thrilled to have a chance to spend some time with the stars. Next the team went to Delhi, where they were a part of media interactions and interviews followed by a musical concert at Hype Lounge. The cast performed to songs from the film at the concert along with Shibani Kashyap’s band, the band Astitva and singer Jasbir Jassi, who has sung the song ‘Desi Daru’ from the film.
Their last stop was Chandigarh where a press conference was held at Wave Cinemas. The city also saw the performance. Later the lead couple, Barun and Shenaz, also took part in a photo-shoot. Overall, the promotions for Main Aur Mr Riight were busy and entertaining, giving the cast a sneak-peek into the excitement of fans for the film.
Directed by Adeeb Rais and produced by Pooja Gujral and Aseem Rais, Main Aur Mr. Riight is presented by Madmidaas films. The music has been given by renowned singer/musician Bappi Lahiri and many more. The movie is slated to release is on 12 December 2014.
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.
