Hindi
Sequel to ‘The Xpose’ to hit screens on 29 May
MUMBAI: After the success of The Xpose, Himesh Reshammiya will now be starring in the sequel of the movie. According to distributor Anil Thadani, The Xpose which was made at a budget of Rs 9 crore, with promotions on print and advertising costing Rs 6 crore has done a net business of Rs 22.77 crore in three weeks.
The sequel to The Xpose which will release on 29 May 2015 is set in the era of the romantic superstar Rajesh Khanna, when hundreds of girls committed suicide as the news of the romantic superstar deciding to get married broke. But then there was one such girl who was murdered in the name of suicide. Himesh’s character will be taken forward in the sequel who plays superstar Ravi Kumar (inspired by Raaj Kumaar) solving the mystery.
One big name from the industry will be seen in a special appearance, playing Rajesh Khanna. The movie will have four big supporting artists and two heroines. The other cast and credits will be announced shortly.
“The director will also be announced soon as there are currently differences between HR MUSIK and Ananth Mahadevan on his price. Mahadevan wants a price hike,” says creative producer Rakesh Upadhyay.
Himesh says, “I am truly excited for the sequel and happy for my dad Vipin Reshammiya that I have given him a hit franchise as he is the official producer of the film. Ravi Kumaar’s character has been appreciated universally by critics as well as the audiences, The quirkiness in his dialogues are a highlight, the sequel will be a landmark with regards to a very big musical thriller, grand visuals, thrills and dialogues in the correct budget and explore the stunning truth of the 70s Bollywood.”
The shooting for the movie will commence from 7 December 2014 and will conclude on 7 February 2015. The music will be launched on 3 April 2015, with the movie releasing on 29 May 2015.
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.
