Hindi
The Dhawan’s strong run at the box office
MUMBAI: Father-son combination of director David and actor Varun Dhavan has given a fair entertainer in Main Tera Hero, a movie worth watching after a gap since Queen. Also, the opposition in the form of Jal lacked commercial approach. While Main Tera Hero did not get a great opening but the word of mouth has gone in its favour. The film collected Rs 21.5 crore over the weekend, getting better each day. The collections could have been better still, were it not for the T20 World Cup matches on Friday and Sunday involving India.
Jal started off badly with ‘No audience No show tags’ at the cinemas. Youngistaan has struggled to collect Rs 5.3 crore in its first week.
While, O Teri has been poor all the way with Rs 3.2 crore to show for its first week, Dishkiyaon has collected Rs 5.25 crore in its first week.
Sunny Leone starrer Ragini MMS2 has held on well in its second week to collect Rs 8.75 crore to take its two week collections to Rs 45.85 crore.
Queen continues its strong hold on the box office by adding Rs 5.6 crore in its fourth week thus taking its four week tally to Rs 54.1 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.
