Hindi
Zee Cinema airs Akshay Kumar and Amitabh Bachchan’s superhit film Ek Rishtaa: The Bond of Love
Zee Cinema, Home of Blockbusters, brings you the power-packed emotional drama, ‘Ek Rishtaa: The Bond of Love’ that airs on the channel on Saturday, 3rd February at 8 PM. With performances that truly touch the heart and India’s acting power-houses – ‘Big B’ and the ‘Khiladi of Bollywood’, this movie showcases varying relationships that exist between the members of a household and how familial ties truly bind individuals to each other. The two superstars, Amitabh Bachchan and Akshay Kumar were seen sharing screen space for the very first time in ‘Ek Rishtaa: The Bond of Love.’
Directed by Suneel Darshan, this family drama features melodious songs like Ek Dil Hai and Hum Khush Hue by music composing duo of the 90s – Nadeem-Shravan. With Karisma Kapoor, Juhi Chawla and Mohnish Behl in pivotal roles, grab your loved ones and get ready for an emotional roller-coaster that will captivate the whole family.
Ek Rishtaa: The Bond of Love is the story of Ajay (Akshay Kumar) who returns to India after completing his education overseas. His father Vijay Kapoor (Amitabh Bachchan), who is a successful businessman, expects him to join the family business. While Ajay chooses to follow his own path, Rajesh, an orphan in search of a job (Mohnish Behl) enters their family and tries to influence Vijay. Oblivious to his hidden motives and infuriated by Ajay’s decision, Vijay hands over the power of attorney to Rajesh and marries his daughter Priti (Juhi Chawla) to him. As a result of this, the family goes through a complete upheaval at Rajesh’s hands.
Will Ajay return to his family and help them get out of this mess? Is blood really thicker than water?
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.
