Hindi
Viacom18 showcases strong women characters content: Ajit Andhare, buys Mithali biopic rights
MUMBAI: With a phenomenal record of being the highest run scorer in one-day internationals averaging above 51, the captain of the Indian women’s cricket team, Mithali Raj, has had a remarkable journey on field. An inspiration to billions of young girls in the country, her life is now all set to be documented on the silver screen. The rights of the film have been acquired by Viacom18 Motion Pictures, the studio that backed content driven films like Queen, Manjhi, Drishyam, Mary Kom, Bhaag Milkha Bhaag and the recent hit, Toilet Ek Prem Katha. Viacom18 Motion Pictures COO Ajit Andhare says, “Viacom18 Motion Pictures has always been the pioneer in showcasing content with portrayal of strong women characters right from Queen to Kahani to Mary Kom. We are proud to be collaborating with the young and inspirational Mithali Dorai Raj, a name single-handedly responsible in bringing about a shift in the way women’s cricket team was perceived in our country.” Raj is the highest run-scorer in women’s international cricket and the only woman cricketer to surpass the 6,000 run mark in ODIs. She is also the first player to score seven consecutive 50s in ODIs. Raj is the first Indian to have lead the national team to an ICC ODI World Cup final twice – 2005 and 2017. An Arjuna awardee, Mithali was also awarded the Padma Shri in 2015, India’s fourth highest civilian award for her contribution towards the sport of cricket. Raj says, “I am extremely happy on this association with Viacom18 Motion Pictures. Hoping that this movie inspires more people especially young girls to take up sports as a career.” The association between Viacom18 Motion Pictures and Mithali Raj has been facilitated by Medallin Sports director Varun Chopra, who says: “Mithali remains to be an inspiration for multitudes for many years now and her story on the silver screen will keep motivating generations.”
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.
