Hindi
Aarakshan nets Rs 240 mn in first week
MUMBAI: The box office disaster for new releases continues. Not A Love Story, Chatur Singh Two Star and Sahi Dhandhe Galat Bande have proved duds. The biggest sufferer is Sahi Dhandhe Galat Bande, a film sans face value.
Meanwhile, for Aarakshan, the controversy, media hype and Gokulashtami holiday worked in its favour. However, the ban in Uttar Pradesh, late release in Punjab and Ramzan month along with lack of appreciation restricted the first week box office collections to around Rs 240 million.
Singham collected Rs 66.5 million in its fourth week; its tally now stands at Rs 958.5 million.
With figures of Rs 37 million in its seventh week, Zindagi Na Milegi Dobara‘s total stands at Rs 832 million.
I Am Kalam collections after two weeks total up to Rs 8.5 million, while Chala Musaddi Office Office collected Rs 15.3 million after two weeks.
Murder 2 box office figures after six weeks is Rs 486.2 million, while Delhi Belly netted Rs 559 million after seven weeks.
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.
