Hindi
Sony BMG files suit against makers of Golmaal Returns
MUMBAI: Sony BMG has filed a case in the Mumbai High Court against Shree Ashtvinayak Films for illegally using the song ‘Jab Se Tere Naina‘ (Saawariya) in the film Golmaal Returns. The court will hear the case in January next year.
According to the music label, the composition and the lyrics of the song have been used in multiple scenes of Golmaal Returns, produced by Shree Ashtvinayak, without any permission or license from Sony BMG which own all rights to the song.
Sony BMG said in a statement that it had sent two notices to Shree Ashtavinayak Cine Vision asking them to take permission for the use of the song. However, when in reply to the second notice Ashtavinayak refuted the claims made by Sony BMG, it decided to file a case against Shree Ashtvinayak Films. It also named the worldwide distributors of the movie – Indian Film company and the home video licensees – Moser Baer as co defendants.
Golmaal Returns was released in October this year and has completed 50 days at the box office.
Shree Ashtavinayak Cine Vision managing director Dhilin Mehta was not available for comment.
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.
