Hindi
Salman Khan, Akshay Kumar to dance on Honey Singh’s tunes
MUMBAI: They are the two heartthrobs of Bollywood and when they come together they create magic. We are talking about Salman Khan and Akshay Kumar. Since the time they did David Dhawan’s Mujhse Shaadi Karogi together in 2004, the two have made a great jodi on silver screen.
The duo is set to come together for a special item song by Yo Yo Honey Singh in Grazing Goats Pictures’ Fugly. The actors, as they rekindle their bromance, will be seen flexing their dance moves with four newcomers.
After Mujhse Shaadi Karogi, the duo came together in Shirish Kunder’s Jaan-E-Man in 2006, followed by a track in Tees Maar Khan in 2011.
It is being said that Salman, who is a good friend of Ashvini Yardi, the co-partner in Grazing Goats Pictures, is doing this as a friendly gesture towards the lady.
Fugly is a coming-of-age drama directed by Kabir Sadanand. It is the story of four friends: Dev (Anil Kapoor’s nephew Mohit Marwah), Devi (grandniece of Sayed Jaffery, Kiara Advani), Gaurav (Olympic medalist Boxer Vijender Singh) and Aditya (Slumdog Millionaire actor Arfi Lamba) and how this carefree bunch, at the threshold of their lives, get caught in a ‘Fugly’ incident, which sucks them slowly into the big bad world of corruption, politics and the real society in the capital.
The film is set to release on 16 May 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.
