Hindi
A State Govt. cannot ban a film cleared by the Censors, says Tewari even as Court extends stay on Vishwaroopam
NEW DELHI: The ban on Kamal Haasan‘s Vishwaroopam by the Tamil Nadu Government may turn out to be a major issue of the powers of the state vis-?-vis the Central Board of Film Certification which functions under the Union Information and Broadcasting Ministry.
Even as I and B Minister Manish Tewari asked the Tamil Nadu government to reconsider its decision to ban the film, the Madras High Court stayed the release of the film till 28 January with the judge saying he would see the film for himself on 26 January before a final decision.
Tewari said, “The Supreme Court of India in Prakash Jha‘s matter (relating to Aarakshan) had the occasion of considering the various provisions of the Cinematograph Act and juxtaposing them against the law and order powers which the state government has under the Constitution.”
“And the Supreme Court was very categorical that Article 246, seventh schedule, list one, entry sixty gives the central government the powers to certify films for exhibition and once the Central Board for Film Certification has taken a particular view, it binds all the other instrumentalities of the state.”
“I suggest that Tamil Nadu government peruse that judgment of the Supreme Court in Prakash Jha‘s case before coming to any conclusion which may fall foul of the very clear directive which the court has given,” he said.
Haasan had approached the Court following protests from Muslim groups asking to impose a ban on the film. The film was slated for release this Friday.
Earlier reacting to the demand for a ban, Haasan had written in a letter: “While I am touched by the voices in support for me and my film, I am appalled at how my film is construed to be against my Muslim brothers.”
“I have been ruthlessly used as a vehicle by small groups who seek political profile. Icon bashing is a great way to be noticed when you are not one yourself. It is happening again and again. Any neutral and patriotic Muslim will surely feel pride on seeing my film. It was designed for that purpose,” Haasan‘s said.
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.
