Hindi
Eros & Lokmat host Shroff show as precursor to Munna Michael release in July
MUMBAI: Lokmat, a regional language newspaper in Maharashtra and Goa, hosted a first of its kind musical and dance concert in Pune on 25 June 2017.
On the occasion of the 8th death anniversary of the pop legend Michael Jackson, today’s youth sensation and Bollywood actor Tiger Shroff performed a tribute to this dance icon. Lokmat with Eros International created this special tribute based on life of a dancer from upcoming movie Munna Michael, produced by Eros International & Viki Rajani’s Next Gen Films, directed by Sabbir Khan, Munna Michael starring Tiger Shroff, Nawazuddin Siddiqui and debutante Nidhhi Agerwal, will release on the 21 July, 2017.
Lokmat Media is a multi-platform media company with interests in a diversified portfolio of publishing, broadcast, digital, entertainment, community and social verticals.
A Lokmat release claimed that more than 5000 people across all age-groups gathered to watch this event which saw also the performance of MJ 5, a popular dance troupe. Lokmat also gave platform to other aspiring groups and solo dancers to perform their best on MJ songs on the occasion.
The audience was enthralled by Tiger’s performance on MJ’s famous tracks like “Billie Jean” and “Smooth Criminal” and special appearance by Nidhhi Agerwal the lead actor of the movie.
The actor also grooved on the tracks of his upcoming movie Munna Michael with his co-star Nidhhi Agerwal.
Speaking on the occasion, Tiger Shroff said, “I thank Lokmat and Eros entertainment for giving me this opportunity to perform on this platform. Michael Jackson is my inspiration and I started my dancing career watching his dance moves.”
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.
