Hindi
Excel offers DVD collection of 21 Bond films for Rs 12,000
MUMBAI: Gearing up for the release of Bond‘s next flick Quantum of Solace’s on 7 November in India, Excel Home Video has launched a Bond extravaganza DVD collection.
The offering includes a DVD box set collection of all the 21 Bond films on to two-disc edition set along with bonus features. This is the first time that all the 21 Bond movies will be seen together in one collection, priced at Rs 12,000.
Presented on two-disc special (ultimate) edition DVDs spanning 42 discs, this will also grant access to “Bond archives, 40 hours of documentaries, featurettes, commentary by directors, interviews of the cast and crew.”
In addition, the box also offers exclusive ‘collectables’ that include poker chips and playing cards as seen in the last Daniel Craig starrer Casino Royale.
Says Excel Home Video CEO Roby Abraham, “The Bond box set includes all the fast-paced adventures, high-performance sports cars, futuristic gadgets, narrow escapes, explosive battles, a bevy of brazen bond girls and other intoxicating ingredients that comprise the ultimate spy character. As this set encompasses the entire bond legacy, it’s a mega-collection that is a must-own for all bond fans whether their favorite 007 is Sir Sean Connery, Sir Roger Moore, Timothy Dalton, Pierce Brosnan or Daniel Craig.”
In addition to the box set, the vanilla one-disc DVDs will also be available individually at Rs 299 each as part of the bond bonanza. The offer is valid till 31 December ony.
The films in this offer include Dr No, Diamonds Are Forever, From Russia With Love, You Only Live Twice, For Your Eyes Only, On Her Majesty‘s Secret Service, A View To A Kill, Goldfinger, Goldeneye, Thunder Ball, License To Kill, Live And Let Die, Octopussy, Die Another Day, Moonraker, The Man With The Golden Gun, The Living Daylights, Tomorrow Never Dies, The World Is Not Enough, Die Another Day and Casino Royale.
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.
