Hindi
Shringar Cinemas Q3 net profit flat at Rs 36 million
Mumbai : Multiplex chain Shringar Cinemas today declared a net profit of Rs. 36 million for the third quarter of FY 2007-08 as against an equivalent amount during the same period last year.
Total revenues rose 37 per cent year-on-year at Rs 246 million against Rs 179.7 million in the corresponding quarter in the previous fiscal. The company‘s operating profit grew to Rs 62.4 million, up from Rs 57.4 million in the previous corresponding quarter.
With the recent addition of Fame Lido in Bangalore on 25 January, Shringar operates 14 properties with 48 screens. The company is fitting out eight multiplexes with 29 screens, spread out across cities like Kolkata, Bangalore, Panchkula, Pune, Dhanbad, Mumbai etc.
Further, the company expects to get a handover of an additional six multiplexes comprising 25 screens located in Bharuch, Baroda, Chandigarh, Ludhiana, Kalyan and Chennai, during Q 1/Q2 of the financial year 2009.
Announcing the results, Shringar Cinemas MD Shravan Shroff said, “We have continued our growth in the third quarter of this fiscal on the back of improved occupancies and higher realisation from tickets and F&B. We are in for exciting times with an additional eight sites (comprising of an additional 29 screens) which are expected to commercially open in the forthcoming three quarters.”
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.
