Hindi
Mukta Arts Q4 net down at Rs 149 million
MUMBAI: Mukta Arts has posted a net profit of Rs 112.16 million for the fourth quarter of the fiscal ended March 2008, down from Rs 149.78 million a year ago.
Revenue, however, rose to Rs 433.36 million, up from Rs 295.19 million. The company released three films during the quarter – Bombay to Bangkok, Black & White and Marathi blockbuster Valu.
For the full year, Mukta Arts‘ net profit went up marginally to Rs 141.15 million, as against Rs 137.16 million for FY‘07. Revenue rose to Rs 1.09 billion, from Rs 967.43 million in the previous year.
Mukta Arts has six films under production – Right yaaa Wrong (Sunny Deol, Irfan Khan, Konkona Sen, Isha Kopikar); Yuvraj (Salman Khan, Anil Kapoor, Zayed Khan, Katrina Kaif); Kande Pohe (Shreyas Talpade, Tushar Dalvi, Shipa Tulaskar, Subhodh Bhave, Bharti Achrekar); Hello Darling (Celina Jaitley, Gul Panag, Isha Koppikar, Javed Jaffrey, Chunky Pandey); Paying Guest (Shreyas Talpade, Ashish Choudhary, Vatsal Seth, Javed Jaffrey, Celina Jaitley, Riya Sen, Neha Dhupia, Sayali Bhagat) and Cycle Kick (K.P. Nishan Nanaiah, Sunny Hinduja, Girija Oak, Ishita Sharma, Dwij Yadav, Tom Alter)
The earnings per share (face value Rs 5) for the year 2007-2008 was at Rs 6.25. The Board has declared an interim dividend of 40 per cent.
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.
