Hindi
‘Humpty…’ & ‘Hate Story 2’ lead at BO
MUMBAI: Pizza 3-D has proved to be a poor performer with few takers turning up at the cinema halls. The film collected Rs 2.5 crore for its opening weekend.
Virr Das is another example of a media made star who don’t work on screen. His Amit Sahni Ki List stays poor in its opening weekend with barely Rs 1.75 crore to show for three days.
Riyasat, Rajesh Khanna’s last screen appearance goes unnoticed and might as well as this was not quite the film the legendary super star deserved to be remembered by.
The only film to draw some audience this week is Hate Story 2, thanks partly to its brand equity and to some extent to the exposure its promotion promised. The film has managed to collect Rs 14.5 crore during its first three days.
Humpty Sharma Ki Dulhania is a rare tribute to an all-time classic, Dilwale Dulhania le Jayenge in this case that has worked; usually such tributes or imitations in the name of a tribute backfire. After a sturdy first weekend at the box office, the film remained steady and finished its first week with figures of Rs 51.9 crore. The film is reported to have done steady business in its second weekend too.
Bobby Jasoos managed to put together Rs 1.15 crore in its second week to take its two week total to Rs 10.05 crore.
Ek Villain, almost coming to the end of its run, has collected Rs 3.1 crore in its third week to take its three week tally to Rs 102.5 crore.
Holiday: A Soldier Is Never Off Duty collects Rs 30 lakh in its sixth week to take its six week tally to Rs 111.07 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.
