Hindi
OUATIMD fails to cash in on Independence Day release
MUMBAI: Once Upon A Time In Mumbai Dobaara starring Akshay Kumar, Imran Khan and Sonakshi Sinha could reap only limited benefit of its release on 15th August holiday as the screens available to it were limited. Thereafter, as the reports were unfavourable, the film could not grow over the weekend. The film ended its four-day weekend with Rs 34.6 crore.
Chennai Express starring Shah Rukh Khan and Deepika Padukone has become the biggest weekend grosser as well as setting a fantastic record for the biggest first week collections. With paid previews included the film has set a new benchmark of Rs 142 crore for week one. With the week’s new release not enjoying favourable reports, the film will stand to gain in its second week run.
B A Pass has been able to sustain through its second week. The film collected Rs 1.25 crore in second week to take its two week total to Rs 6.6 crore.
Ramaiya Vastavaiya has added a symbolic Rs 12 lakh in its fourth week taking its four week total to Rs 25.97 crore.
D-Day has finally remained much below its merits, managed a meagre Rs 10 lakh in its fourth week taking its four week total to Rs 19.6 crore.
Bhaag Milkha Bhaag the biopic on the great Indian athlete Milkha Singh also called “the flying sikh” starring Farhan Akhtar and Sonam Kapoor has collected Rs 2.5 crore in its fifth week to take its five week tally to Rs 105.25 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.
