Hindi
Ek Tha Tiger’s thunderous roar to Rs 1 bn in 5 days
Mumbai: Ek Tha Tiger has broken all previous records of the opening day box office collections as well as those of an extended weekend release, having touched the Rs 1 billion mark in five days.
The Salman Khan has gone on to set new records which don‘t look easy to better in the near future.
The film was well awaited by the exhibitors and brought them relief after a run of mediocre grossers. With bumper opening day collections of Rs 329.2 million on 15 August, the film ended its five-day weekend with Rs 1 billion. It even bettered the earlier high by Salman‘s own Bodyguard, which had collected Rs 889.5 million, by over Rs 100 million.
With Eid and Basi Eid collections yet to be added, the nine-day week of the film will record unprecedented figures.
Bol Bachchan collected approximately Rs 7.5 million in its sixth week, taking its total to Rs 1 billion.
Jism2 did reasonably well in its second week with figures of Rs 49 million, taking its total collection to Rs 350.5 million.
Gangs Of Wasseypur 2 proved inferior to its earlier part managing to collect a poor Rs 187 million from nine days plus paid previews a day before its Wednesday release.
Kya Super Kool Hai Hum managed to see its third week through with a decent Rs 26.1 million taking its tally to Rs 458.6 million.
Cocktail added Rs 2.5 million in its fifth week to take its total to Rs 761.5 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.
