Hindi
Bookings for Saawariya open at Inox, Cinemax
MUMBAI: In a meeting that took place on 2 November between Sony Pictures India and the multiplexes, Sony has agreed to release Saawariya in Mumbai‘s multiplexes for 50 per cent of the revenue in the first week, 40 per cent in the second and 30 in the third. The same for other smaller territories is 50:50, 42?:57?, 35:65.
On the other hand, Eros is yet to arrive at a decision with the multiplexes except for Inox, which is the distributor of Om Shanti Om in Kolkata. Hence Inox will start advance bookings of both movies from tomorrow and will play both movies on 9 November in its Kolkata properties.
Om Shanti Om advance bookings open only at INOX multiplexes across the country from Sunday, 4th November 2007. This will give cine buffs the opportunity to book their OSO tickets only at INOX multiplexes, much before the rest of the country does.
As for Adlabs, the stalemate continues said the spokesperson. “As until yesterday there was no progress with the negotiations,” said Adlabs spokesperson Anjali Malhotra. “And if there has been any progress today we have no news and hence am unable to make any statement.”
Its status-quo for PVR and the spokesperson Karan said that the meeting for the same is scheduled for Monday only after which a statement could be made.
For Cinemax the deal is half-clinched as Saawariya will be playing at all their screens and the booking had also begun as of today. This was confirmed by VP, marketing, Devang Sampat. ” But as for OSO the negotiations are still on. We will be able to comment only by Monday,” he said.
Amita Naidu of Eros said that as talks between the respective parties are still underway she would provide an update only early next week.
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.
