Hindi
UTV’s ‘Oye Lucky’ grosses Rs 46 mn in opening week
MUMBAI: UTV Motion Pictures‘ Oye Lucky Lucky Oye (OLLO), which was released on 28 November in India, has grossed Rs 46.1 million at the box office during its opening weekend.
“The film has garnered Rs 46.1 million in India during its first weekend. As far as the overseas collection goes, we have not compiled it as yet,” said UTV Motion Pictures CEO Siddharth Roy Kapur.
OLLO hit the US theatres on 26 November, two days prior to its India release where the film opened with 200 prints.
Directed by Dibakar Banerjee (Khosla Ka Ghosla fame), the movie was released in the UK with 15 prints.
OLLO casts Abhay Deol, Neetu Chandra, Archana Puran Singh and Paresh Rawal in a triple role. OLLO is inspired by true events and is a buddy movie as well as a satire.
“Despite the depressing mood all around us, Oye Lucky Lucky Oye has managed to do steady business over the weekend. While Friday was slow, collections picked up dramatically over the weekend driven by rave reviews and positive word of mouth. We are confident that the film will hold and have a long sustained run in theatres,” opines Kapur.
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.
