Hindi
‘Lateef: The King Of Crime’…Lateef who?
MUMBAI: Gangster movies are an easy genre to handle. It does not matter that the gang you want to portray on screen is relevant to any sort of audience in India or elsewhere. And, how does one gangster movie differ from another where one man from nowhere who fails in all other endeavours turns a successful gangster and builds a gang around him? This is irrelevant for those who want to make gangster movies.
Initially, filmmakers inspired by the American all-time classic Godfather saga tried to make versions of it for Hindi screen; most failed miserably. India was not a national gang country until a Mumbai gangster came to be known as don and to pull strings all over country. Then came a slew of films on UP dons and Bihar dons, local police-file legends that found no takers anywhere.
Now we have this film about a Gujarat don, ‘Lateef: The King of Crime’, which is not quite right. Gujarat never had a culture of breeding dons; he was just a local bootlegger whom politicians began using giving him muscle power.
Lateef, a petty bootlegger from the walled city of Ahmedabad, on whose life the film is based (but is way off the mark) thrived mainly because he was a bootlegger in a dry state whose services were need by everybody from industrialists to bureaucrats. Politicians are known to breed Lateef kinds and soon a proximity grew between the two. The two occasions when the city was tense and prone to communal violence, Rath Yatra and Makar Sankranti (the kite flying festival in January) were the communal riot seasons when he thrived.
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Director: Sharique Minhaj Cast: Hameed Khan, Bharti Sharma, Aryan Vaid, Raju Mavani, Aditya Lakhiya, Mustaq Khan |
Producer: Kewal Krishna
As the film depicts and as it happened, Lateef came into his own when he reportedly linked up with Dawood. This was also the time he was going beyond the control of his political masters. His reported link to the 1993 Mumbai multiple bomb blasts was too hot to handle for all concerned, especially the people of Gujarat not used to don culture. Lateef was put behind bars and later liquidated while ‘attempting to flee through a jail toilet’ in 1997. A political puppet created and dumped by the same clan.
As for the film, it fails to be either an interesting adaption of his story or a docudrama. There is no sense in making this film in the first place. He was an ‘Accidental Don’ thanks to the Dawood era and died the way he was destined to. The film is a poor narrative sans details, nonperformers as actors and has poor sense of direction. The protagonist looks rather comic with his ill-fitting wig.
The film is slated for release at few cinemas but finding audience will be nigh impossible.
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.
