Hindi
Akshay fans shun Joker; Tiger manages to attract viewers
Mumbai: Joker failed to find any slot and faced near total rejection from the moviegoers. As the film‘s hero Akshay Kumar kept away from the film‘s promotions, his fans followed suit by staying away from the cinema halls.
For Sonakshi Sinha, this is her first failure after two hits (Dabangg and Rowdy Rathore). The film managed a poor Rs 147 million for the opening weekend.
Shirin Farhad Ki Toh Nikal Padi was not appreciated and ended its first week on the lower side of Rs 100 million, finishing at Rs 96.5 million.
Ek Tha Tiger, despite a massive multiple screen/show release, added just Rs 306.2 million in its second week, which took its two week (16 day) total to Rs 1.84 billion. It further added Rs 65.1 million over the third weekend, taking its 19 day total to Rs 1.91 billion.
Gangs Of Wasseypur collected Rs 11 million in its third week, taking its total tally to Rs 225.5 million.
JIsm2 added Rs 1.5 million in the fourth week taking its total collection to Rs 358.5 million.
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.
