Hindi
Film ‘Gadar’ gives Zee entry in Top 20
MUMBAI: The film smashed all before it last year and was one of the stellar achievements for Subhash Chandra’s Zee Group in 2001. And the airing of Gadar Ek Prem Katha, gave Zee TV a Top 20 performance on the ratings charts after a long while.
The jingoistic Bollywood blockbuster that had he-man Sunny Deol playing the lead aired on Zee on 14 August (the eve of Independence Day) and has made two entries into the ratings charts. The second half of the movie (post 10 pm) registered 17 (5.05 TVRs) on the ratings scale while the first half (8 pm onwards) was 21 (4.5 TVRs) on the TAM ratings for 4+ TG across all markets for the week from 11 August to 17 August.
There was another movie in the Top 20 and that was the critically acclaimed Aamir Khan starrer Dil Chaata Hai that aired on Star Plus on Saturday night, 17 August, and came in at 19 notching up TVRs of 4.65.
Zee’s Playwin Lucky 3 lottery was the only other show that made its mark on the Top 100 at 28 with ratings of 4.08.
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.
