Hindi
‘Warning’: Nothing to be scared of
Warning is an attempt to make something different in that it chooses an underwater theme with 3D effects. However, trying to be different does not amount to being original. Thus, the film borrows heavily from an English film, Open Water 2: Adrift.
A bunch of friends decide to go mid-sea for a break and celebrate their reunion. These seven friends decide to go for a swim and sure enough all of them jump into the sea leaving only a year old toddler aboard. While they are having fun they don’t realise they have no way of getting back on the yacht because, in their joyous mood, they have forgotten to lower the ladder to board the yacht again.
When they realise, they try to devise ways to climb back while they ward off sharks and struggle to stay afloat. Meanwhile, the little baby is alone on the yacht and crying. As would happen in any reunion, the past incidents catch up with the group. Past enmity too resurfaces. To add some tense moments, one of the girls forced to jump into the water suffers from aqua-phobia.
There is no suspense in the film as such except how many will be sacrificed while efforts are being made to climb back aboard and how many will make it out alive. In fact, the film takes recourse to the original source in plotting its sequence of events.
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Producer: Anubhav Sinha, Parag Sanghvi, Sunil A Lulla.
Director: Gurmeet Singh. Cast: Santosh Barmola, Suzana Rodrigues, Manjari Fadnis, Varun Sharma, Jitin Gulati, Sumit Suri, MadhurimaTuli. |
The film is well endowed with good photography and background score but despite a readymade subject and 3D effects to play with, it is the treatment that is seen to be wanting. The film fails to scare or even cause anxiety in any sequence. Performances range from average to passable.
Warning 3D will prove to be one of those also ran films.
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.
