Hindi
Sanjay Dutt to serve sentence in Yerwada prison, to file curative petition
NEW DELHI: Bollywood actor Sanjay Dutt today surrendered before the designated TADA court in Mumbai to serve his sentence in the 1993 Mumbai serial blasts case.
The court directed that he be sent to the Yerwada jail.
Earlier on his entering the court, formalities began for his surrender. The court commenced the process for the identification of Dutt, whose conviction was upheld by the supreme court recently.
He had come to the court with his wife Maanyata, brother-in-law Kumar Gaurav and senior filmmaker Mahesh Bhatt.
On arrival, he was mobbed by the media and both he and Bhatt appealed to the media persons to let him complete the formality of surrender.
Meanwhile, his lawyer later told media-persons that he would move the Supreme Court with a curative petition.
The supreme court on 10 May rejected a review petition by the actor against his conviction under the Arms Act.
The court had earlier on 21 March upheld his conviction under the Arms Act and sentenced him to five years of jail in relation to the 1993 Mumbai serial blasts case. However, he was given time to complete his assignments in the film industry.
He had to surrender by 4.00 pm today.
The court which had upheld the death sentence of Yakub Abdul Razak Memon, a key conspirator with Dawood Ibrahim in the 1993 Mumbai serial blasts, had ordered that Dutt return to jail to serve three-and-a-half years’ sentence for possessing illegal arms. Dutt has already served a jail term of 18 months.
A total of 257 persons were killed and 713 others injured when a series 13 coordinated explosions shattered the metropolis on 12 March 1993.
The blasts occurred at 12 places, including Bombay Stock Exchange building, Air-India Building at Nariman Point, at Worli opposite Century Bazaar, Hotels Sea Rock and Juhu Centaur.
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.
