Hindi
Weak releases help English Vinglish
Mumbai: Aiyyaa, with its poor content, fared poorly at the box office. The film managed to collect Rs 45 million for its opening weekend.
Bhoot Returns 3-D did not find much of audience to scare. The horror story, then, is all about its collection figures which for the first weekend were Rs 34 million.
Makkhi found appreciation but not the necessary patronage and covered Rs 22 million in its opening weekend.
Other releases of the week, Chittagong, Prem Mayee, Login and In The Name Of…Tai added to the also ran list.
English Vinglish, which opened weak on Friday (5 October), gathered momentum on Saturday and Sunday that followed and went on to do steady business through the week to end it with figures of Rs 210 million.
KLPD Kismet Love Paisa Dhokha showed poor figures of Rs 39 million for its first week run.
OMG Oh My God! Performed like a star cast film holding rock steady in its second week with Rs 221 million (Excl: Eastern Circuits) which takes its total tally to Rs 559 million.
Kamaal Dhamaal Malamaal collected Rs two million, taking its two week total to Rs 75 million.
Heroine collected Rs 3.5 million in its third week taking its total to Rs 366.5 million.
Barfi! maintained excellent collections with the figures of Rs 73.5 million in its fourth week and crossed the Rs one billion mark with a total of Rs 1.06 billion.
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.
