Hindi
Saif Ali Khan shoots special anti-smoking video to be played before screening of Go Goa Gone
MUMBAI: In response to protests by the National Organisation for Tobacco Eradication for showing Saif Ali Khan sporting a cigar in his mouth on the poster for his upcoming film Go Goa Gone, the actor has shot a special video to spread awareness about ills of tobacco.
The video will play in the beginning of the movie where he plays the role of a cigar smoking Russian mafia lord Boris who turns into a zombie killer.
Khan said, "I think smoking is a form of drug abuse. I do not believe in censorship, as in blanket banning. An appropriate age certificate must be set and then enforced. That is what the censor board is for. However, I understand with this freedom comes a social responsibility and I would like to warn the youth that smoking is a very dangerous habit."
Earlier, health ministry had issued an order banning smoking scenes on screen, demanding that cigarette products be blurred or edited and such scenes be accompanied by a disclaimer.
Speaking on the sidelines, producer and Khan‘s partner Dinesh Vijan said that initially Khan was reluctant to play a smoker onscreen.
The film also stars actors Kunal Khemu, Vir Das, Anand Tiwary and Puja Gupta.
The film, directed by Raj Nidimoru and Krishna DK, will release on 10 May.
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.
