Hindi
Cinema must help build the moral compass of the nation and portray positive societal values; Pranab Mukherjee
NEW DELHI: President Pranab Mukherjee has said that cinema must be used to portray positive societal values for building a tolerant and harmonious India.
Referring to recent criminal events involving women and children, he said the role of the film industry was very crucial in building the moral compass of the nation. He said the film industry ought to take steps to ensure that cinema was morally energising.
Mukherjee was speaking after he conferred the National Film awards for the year 2012 in various categories at the 60th National Film Awards Function held at the Vigyan Bhawan. The award ceremony coincided with the release of the first Indian feature ‘Raja Harishchandra‘ by the father of Indian cinema D G Phalke on 3 May.
He lauded the initiatives taken by the information and broadcasting ministry including single window clearance for shooting the films in India.
Lauding the recipient of the highest award in cinema, the Dadasaheb Phalke award, he said actor Pran had commenced in films as a hero in 1940 but then moved on to become the ‘quintessential gentleman villain‘.
There was standing ovation as the name of the 93-year old Pran Sikand, who could not attend because of illness, was announced.
I&B minister Manish Tewari said the presence of films with innovative themes at the 60th NFA had proved that the Indian film industry was playing a proactive role in articulating issues and prejudices that had been historically embedded in our society.
Indian cinema, Tewari added, had been the mirror of the nation‘s milieu and had an incisive influence on the evaluation of society. Internationally, Indian cinema had evolved to cater to the taste of international audiences. A unifying synthesis, Indian films had been able to institutionalise and project India‘s soft power outside the country. The film industry, he said, had grown despite and in spite of the government.
He announced that the government had decided to institute an annual centenary award from this year to be given to a personality or institution recognising a paradigm transformation in film making and honouring individuals or films that had profoundly influenced contemporary, socio cultural evolution.
He also announced that the Films Division Auditorium in Delhi was being re-furbished to convert it into a hub for alternate cinema. The Auditorium which was being used for screenings only on special occasions would be modelled along the lines of Prithvi Theatre in Mumbai to not just screen documentaries, small budget films but also provide a forum for film makers and connoisseurs to discuss the film making.
He referred to the justice Mudgal Committee which was taking a fresh look of the Cinematographic Act 1952, and the Committee would aim to find a golden mean between creative essence and aesthetic sensitivity.
The highlight of the evening was the release of postal stamps of 50 iconic personalities of Indian cinema by the President to commemorate the century long journey of Indian cinema. The film personalities depicted in stamps include Ashok Kumar, Bhalji Pendharkar, Durga Khote, Dev Annad, Yash Chopra, Smita Patil, Rajesh Khanna, Shammi Kapoor, Suraiya, Geeta Dutt, Sohrab Modi, Tapan Sinha, C.V. Sridhar and Bhanumathi.
Speaking on the occasion, communication and information technology minister Kapil Sibal said the Department of Posts had given a fitting tribute to the powerful medium by issuing 50 new stamps.
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.
