Hindi
‘Kick’ …Get a kick out of it!
MUMBAI: Other films may have done more business at the box office but 2009’sWanted created a new slot for Salman Khan; that of a walking talking killing machine, a Superman (but without his sartorial taste of wearing his underwear over his pants). Being a Hindi film hero, he also has to simultaneously carry out the tougher job of maintaining and placating a girlfriend, and sing and dance with her in garish club sets. Ever since Wanted, films are made for Salman to fit in that same mold which assures success. The planned Eid release, something which now seems like a fixed slot for Salman starrer, adding hugely to the film’s prospects.
Salman is on a mission; he needs to find a person who, he thinks, is responsible for a certain crime despite being in high position in politics. Meanwhile, he notices Jacqueline Fernandez, a psychiatrist, when she is wearing horn-rimmed glasses and looks like a nerd—though she changes to tiny dresses when she is ready to romance and dance the jig with the hero.
Impressed with Salman and very much in love with him, Jacqueline ‘s love story with Salman is not quite convincing and uses up most of the first half offering nothing except a few songs on the viewer. Then, Salman is taunted by Jacqueline about his monetary status. He vows to spend his time on making money and turns into a contemporary Robin Hood. It is another matter that a little later his cause for raising money is a small kid suffering from cancer. He makes raising monies for children needing medical attention his life’s mission.
There is a little girl who is dying of cancer and, unable to meet the expenses of her operation, her parents commit suicide. Salman takes up the cause of that child and approaches the big shots of the town for help. One of the big shots (and a minister), Nawazuddin Siddiqi, along with a bunch of his sycophants, makes the mistake of insulting him by donating Rs 100 while he needs Rs 11 lakh for the child’s survival. That is a reason enough for Salman to eliminate the gang of Nawazuddin one after the other.
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Director: Sajid Nadiadwala. Cast: Salman Khan, Jacqueline Fernandez, Randeep Hooda, Nawazuddin Siddiqi, Mithun Chakraborty, Saurabh Shukla, Vipin Sharma, Sanjay Mishra, Archana Puran Singh, Kavin Dave, Sumona Chakravarti and an item number by Nargis Fakhri. |
Producer: Sajid Nadiadwala.
Meanwhile, the action has shifted to Poland and an Indian cop, Randeep Hooda, is following Salman’s tracks. He is willing and ready to shoot Salman but never does so when Salman is around him because he comes in the guise of a friend, Devi Lal while the thief Hooda is chasing is called Devil (al)!. While Salman and Hooda play cops and robbers, a lot of Nawazuddin henchman millionaires back in India are being robbed. Nawazuddin is exasperated and desperate to find the culprit and add his death to his reputation.
The film turns into a caper as Salman carries out a number of heists in varied ways maintaining his humour all the while. These missions are serious business for Salman and his romance with Jacqueline has been called off, while Hooda, who has come to Warsaw chasing Salman, happens to be her family friend and it is left to her to look after him. A sort of triangle is formed. Though predictable and seen earlier, now the sequence is such that Salman is hunting for Nawazuddin and Hooda is hunting for Salman the Devil. These are the parts that make Kick interesting as would be expected from a Salman action thriller.
The script, as should be apparent, is a bit messy .There is nothing solid happening in the first half except a romance without chemistry. All the action is in the second half where there are some sudden jumps and locations unexplained. You don’t know whether you are in Delhi or Europe, whether one is in past or in present as the things unwind. Sajid Nadiadwala’s foray into direction considering these glitches in the script is satisfactory. What matters is that it will go down in the record books as ‘A super hit on debut’ for him. The film has competent cinematography by Ayananka Bose. The film’s music is not up to the mark and adds to the tedium of the first part. The one song which has popular appeal is ‘Jumme ki raat…’ Dialogue has the usual Salman one liners laced with humour.
The film belongs to Salman Khan all the way and he is in full form. Randeep Hooda comes in a different role and justifies it. Nawazuddin as a maniacal villain, the kind you see in a Bond film or a super hero film, may not come across as strong enough against Salman but looks sinister enough to be slayed. Jacqueline is okay. Mithun Chakraborty as Salman’s father complements him well. Kavin Dave and Sumona Chakravarti lead the supporting cast of able actors like Saurabh Shukla, Vipin Sharma, Sanjay Mishra and Archana Puran Singh.
Kick has taken a thundering opening despite coming on the last Friday of Ramzan and Kavad processions in the North as a Maha Shivratri ritual. The film is expected to break first day records and enjoy a ‘10 day weekend’ at the box office and creating more records.
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.
