Hindi
Rascals nets Rs 230 mn at BO
MUMBAI: Traditionally considered as a dull period for the box office till Diwali, the number of releases continues unabated.
Rascals, despite Sanjay Dutt and Ajay Devgn leading the cast and comedy specialist David Dhawan at the helm, fared poorly. Having opened reasonably well on Dussehra day, its slide started the very next day as reports of poor content spread. Even weekend collections were not up to the mark and the film took a steep dive today. The film did a net collection of Rs 230 million in its first four-day run at the box office.
Love Breakup Zindagi and Sountrack suffered from lack of patronage with many shows being cancelled.
Force fell far short of other South remakes with John Abraham enjoying very limited following and the movie having precious little to offer except action. The movie netted Rs 245 million in its first week.
Sahib Biwi Aur Gangster got Rs 61 million in its first week.
Meanwhile, Hum Tum Shabana failed to make a mark at the box office collecting a meagre Rs 19.5 million in its firstweek.
Mausam rated as a failure, adding just Rs 31 million in its second week. The two-week total of the Shahid Kapur starrer is Rs 304 million.
Mere Brother Ki Dulhan, with Rs 9 million collection in its fourth week, took its tally to Rs 588 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.
