Hindi
Zee Cinema’s world television premiere of The Master on Sunday
Popular Hindi movie channel Zee Cinema’s world television premiere of the pan-Indian blockbuster The Master is on Sunday, 30 May at 08.00 pm. The Master is the Hindi dubbed version of Vijay’s Tamil blockbuster Master, directed by Lokesh Kanagaraj.
During the lockdown, Hindi movie channels witnessed a remarkable increase in viewership, and the dearth of Bollywood movies played a crucial role in elevating the popularity of south Indian movies among Hindi-speaking audiences. Zee Cinema, with its world television premiere of The Master, will cater to a large segment of audiences who tune into southern movies dubbed in Hindi.
The Master revolves around the story of two people, JD, a college professor, and Bhavani, a criminal. Bhavani exploits youngsters at a juvenile detention centre. Things take a new turn in their lives when JD is appointed as a teacher at the detention centre. As days go by, events lead him to uncover a heinous plot by Bhavani. What follows is a thrilling battle to protect the juveniles and unmask Bhavani.
Vijay plays the role of JD in The Master, while acclaimed actor Vijay Sethupathi can be seen enacting the role of the deadly Bhavani. The supporting star cast includes Malavika Mohanan, Arjun Das, Shanthanu Bhagyaraj, and Andrea Jeremiah.
Talking about The Master, director Lokesh Kanagaraj said, “The two big stars Thalapathy Vijay and Vijay Sethupathi coming together added to the scale of the movie. It was a great experience to work with them. I wanted this movie to have a mass appeal. When your work receives so much love and appreciation from the audience you automatically get inspired to make more movies to entertain them.”
“This was my first film with Vijay sir and it was really exciting for me to share the screen with him. Working with a sensation and an icon made this experience even more exciting for me. It was great to be a part of the movie where some of the best artists like Thalapathy Vijay, Vijay Sethupathi, Anirudh and Lokesh came together,” said Malavika Mohanan about the movie.
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.
