Hindi
‘Humpty Sharma Ki Dulhania’ shows its charm at the BO
MUMBAI: The week’s release, an excuse to pay a homage to Yash Raj classic hit Dilwale Dulhania Le Jayenge, is tagged as the poor man’s Dilwale Dulhania Le Jayenge which won’t stop minting some fast bucks for its makers. While Humpty Sharma Ki Dulhania opened to a fair response, it was the strong positive response from those who watched it that benefitted the collections get better on the weekend that followed.
The film has collected about Rs 31 crore, a healthy take for the opening weekend, but is not expected to sustain as well as it enters the new working week.
For the record, two regional films which are creating some box office records locally are the Punjabi film, Punjab 1984 and Riteish Deshmukh’s Marathi film, Lay Bhaari.
Lekar Hum Deewana Dil, another third generation Kapoor clan starrer launching Armaan Jain, is very poor managing to collect just about Rs 2.5 crore in its first week. The pre-release promotion angle of the film was unimaginative to say the least.
Bobby Jasoos remained poor in its first week despite being a fair entertainer even if not up to the mark. The film collected Rs 10.9 crore in first week. It will be a loser.
Ek Villain is now an established hit. It also helps consolidate the standing of Shraddha Kapoor with another major hit to her name after Aashiqi 2. The film goes on to collect Rs 22.2 crore to take its two week total to Rs 99.4 crore.
Humshakal has come to the end of its poor run at the box office not making its presence felt at all in its third week.
Holiday: A Soldier Is Never Off Duty adds a symbolic Rs 55 lakh in its fifth week to take its total to Rs 110.77 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.
