Hindi
Albeit crude humour Grand Masti collects Rs 82.6 cr in two weeks
The past week saw as many as five new releases, all sans face value and due promotions. Of the lot, the only one to show some figures for its three day run is Warning 3D/2D. The film has collected Rs 2.60 crore.
The other four releases, Maazii, Raqt – A Rishta, Prague and Supermodel have all bombed badly leaving no trace.
Phata Poster Nikhla Hero, starring Shahid Kapoor and Ileana D’Cruz, will fail to recoup its investment from the box office with the film’s lack of public appreciation showing starkly on its collection figures. The film has collected Rs 28.5 crore in its first week.
The Lunch Box, starring Irrfan Khan, Nawazuddin Siddiqui and Nimrat Kaur, which had opened with first day collections barely crossing Rs 1 crore, has earned much appreciation translating into revenues as the film ended its first week with figures of Rs 10.25 crore.
Grand Masti is the only film doing well its off-colour humour notwithstanding. The film which did excellent in its first week, has maintained well even in its second week by adding Rs 17.9 crore and taking its total to Rs 82.6 crore.
Shuddh Desi Romance has collected Rs 1.2 crore in its third week thus taking its three week tally to Rs 46.45 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.
