Hindi
‘The Expose’…Limited Exposure
MUMBAI: The composer singer Himesh Reshammiya, wanting to turn and be accepted as an actor, is a mission that is into its fourth essay with The Expose, a film to re-re-re- launch him. The earlier attempts being Aap Kaa Surroor, The Moviee–The Real Luv Story and Karzzzz which were blanks, neither earning Himesh monies nor stardom.
In the latest search for recognition and stardom, Himesh has managed to shed much weight and assumed a new- mustached look. Also, the subject has been selected that does not tax an artiste too much while also creating the scope to play with music and atmosphere.
This is 1960s and 70s and Himesh is a star from South films who was a cop responsible for shooting a politician. His carries an attitude like South superstar Rajnikant; he does not require his face to be touched up as he believes he was born with makeup. He is now making his debut in a Hindi film.
There is a film awards function. Pitted against each other are two female debutantes, Zoya Afroz and Sonali Raut, who shared a PG accommodation and struggled together. Sonali pips Zoya at the awards and a catfight follows. Next, one knows, Sonali has fallen from the terrace. After initially calling it a suicide, it is later declared a murder. This leads Himesh to assume his original profession, he is a cop again.
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Director: Ananth Narayan Mahadevan. , Cast: Himesh Reshammiya, Sonali Raut, Zoya Afroz, Honey Singh, Ananth Mahadevan, Irrfan |
Producers: Vipin Reshammiya.
The director and the camera are dedicated to Himesh rather than get into the details of the era the film is set in; it tries to be smarty pants. The dialogue is the plus with Himesh’s sense for music adding to the advantage. While Himesh tries his best but remains static as an actor, the girls are okay while Irrfan as a ticket black-marketer is a misfit.
The Expose holds limited appeal due to music factoronly.
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.
