Hindi
Release of Shootout at Wadala pushed till 1 May, 2013
MUMBAI: The release of Ekta Kapoor‘s Shootout at Wadala has been postponed for 1 May next year.
This is the second time that release of the film, co-produced and directed by Sanjay Gupta, has been postponed. Earlier, it was scheduled to release on 7 December this year but it was pushed to 25 January, 2013 to avoid a clash with Aamir Khan‘s Talaash, that is scheduled to release on November 30.
Looking at the release of the Anil Kapoor and John Abraham-starrer Race 2 early January, the film‘s release has been pushed further to May, it is understood.
“When I recently saw the rushes of the film I was blown away. It was so engaging and a powerful film. With its content and massive star cast, topped by the marketing push that Balaji team will give…we needed a five-day long weekend for Shootout at Wadala,” producer Ekta Kapoor said in a statement.
The makers are banking on the theme of the film which is based on the life of Maharashtrian labourer Manya Surve (played by John Abraham), who became involved in the first ever police encounter in the country.
Shootout at Wadala, which is a prequel to the 2007 hit film Shootout at Lokhandwala, stars John Abraham as gangster Manya Surve while Anil Kapoor plays the role of police officer named Issac Bagwan. It also stars Tusshar Kapoor, Sonu Sood, Manoj Bajpai, Ronit Roy, Kangana Ranuat and others.
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.
