Hindi
Release of Housefull 2 preponed to IPL time
MUMBAI: Sajid Nadiadwala has preponed the release of his upcoming film, Housefull 2. The film will now be released by Eros International on 5 April instead of 1 June 2012.
The reason of the postponement came in the wake of YRF’s decision to release their Salman Khan-starrer Ek Tha Tiger on 1 June. Nadiadwala didn’t want a clash with the release of a Salman Khan film. So he thought it better to prepone than postpone the release of Housefull 2.
Housefull 2 is a comedy in true Sajid Khan style and stars Akshay Kumar, John Abraham and Riteish Deshmukh along with Asin Thottumkal, Jacqueline Fernandez, Randhir Kapoor, Zarine Khan, Shreyas Talpade, Boman Irani and Chunky Pandey.
Nadiadwala’s move can also be seen as further emboldening of Bollywood’s decision to take the IPL head on. The League goes underway on 4 April. Early last week, Vidhu Vinod Chopra made open his plans to release Ferrari Ki Sawari on 27 April next year.
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.
