Hindi
The weeks releases fail to work at BO, pundits pin hope on Dhoom 3
MUMBAI: Jackpot, Sachin Joshi’s third attempt at seeking recognition as a film actor, has come to naught. Released at a fair number of screens, the film has remained poor in collections as it has only managed 2.8 crore for its opening weekend. It will be tough to feed the cinema halls Monday onwards.
What The Fish makes its debut with cancelled shows due to no show by audience; an exercise in total loss of money and efforts.
R…. Rajkumar has a face saving first week thanks to its collections from single screens away from metros. The film has collected 41.3 crore in its first week with second week expected to gain some due to poor oppositions.
Club 60 has gone unnoticed.
Bullet Raja continued its poor run in its second week with figures of 2.55 crore taking its two week total to 32.3 crore.
Goliyon Ki Rasleela: Ram-Leela has added 2.85 crore in its fourth week taking its four week total to 103.15 crore.
Singh Saab The Great comes to the end of its run with a three week tally of 273 crore.
Krrish 3 has collected 55 lakh in its sixth week to take its six week total to 175.95 crore.
The exhibition trade pins its hopes on Dhoom 3 to end the year 2013 on a positive note as most films they had hopes from have failed to live up the trade’s expectations. Even the movie lovers are looking forward to this Aamir Khan-YRF offering.
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.
