Hindi
Rab Ne Bana Di Jodi becomes highest grosser for YRF, SRK
MUMBAI: The Shah Rukh Khan-starrer Rab Ne Bana Di Jodi, which hit theatres in India and internationally five weeks ago on 12 December, has grossed Rs 1.8 billion to break all previous box office records for Yash Raj Films.
Rab Ne… has also become the highest-grossing Shahrukh Khan film till date.
Despite being released just after the terror attacks in Mumbai on 26 November last year amidst uncertain consumer sentiments and apprehensions and contending with the record-breaking onslaught of Ghajini on 26 December, the film has achieved quite a fair run at the box office.
The net collection of Rab Ne Bana Di Jodi for the first five weeks in India is Rs 830 million (gross collections close to Rs 1.4 billion). The film has, thus, surpassed Yash Raj Films’ previous highest grosser, Dhoom: 2, which collected Rs 806 million net across its entire run in India.
The total gross collections from overseas markets including US, UK, Australia, Europe, Africa, Middle East and Asia are $8 million.
In the UK, Rab Ne Bana Di Jodi has grossed close to $2.1 million till date while n the Middle East, Rab Ne Bana Di Jodi has earned $2.25 million. The film has also achieved a gross of $2.1 million till date in the US.
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.
