Hindi
Kangna’s Rajjo set to release with Ramleela
The most talked about musical dramas are now set to clash. Sanjay Leela Bhansali’s ‘Ram Leela’, the promo of which has already been unveiled was set to enjoy a solo release in the coming festive season. However, now Kangna Ranaut starrer ‘Rajjo’ is too releasing on the same date.
On the clash of dates, makers of Rajjo says,“ However once the final cut of the ‘Rajjo’ was seen by people concerned, there was an added sense of confidence. It was felt that the originally decided date would be just right to set the stage for ‘Rajjo’ v/s ‘Leela’,”.
With so much effort put in to make delightful film the director of ‘Rajjo’ Vishwas Patil says: “I was waiting for an apt time to bring the film. Even though the main character Kangna (or Rajjo) plays a Mujra wali in the film, it isn’t somber or depressing by any means”.
The release date of a film was decided as 15 November after a lot of brain storming. ‘Rajjo’ would incidentally be arriving just 12 days after the release of ‘Krrish 3’ (3rd November) in which Kangna would be seen kicking butt.
About the film Kangna seem confident, she says “‘Rajjo’ is really close to my heart and I am glad it is being released this festive season. As for competition with other films, there would be one every week in any case. I am sure my producers are taking a good call and it comes from the trust and confidence they have in the product. I am particularly proud of the film and my work. The film is special and it will fetch an audience of it’s own. I strongly believe in director Vishwas Patil and music director Uttam Singh. Once you see the promos, which would be out very soon, you would know what I mean.” There is no doubt that the actress has put in a tremendous about of hard work into the film, lets hope in works in her favour.
Rajjo is produced by Four Pillar Films starring Kangana Ranaut, Paras Arora, Prakash Raj, Mahesh Manjrekar and Jaya Prada.
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.
