Hindi
Agent Vinod: No flow of story, no explanations
MUMBAI: A spy thriller is not a genre often seen in Hindi films and for that reason one thought Agent Vinod was a welcome idea as well as an opportune one. The title betrays director Sriram Raghvan‘s fascination for films he grew up watching. His last film, Johny Gaddaar (2007) was a remake of Gaddar (1973). For this film he opts for the title of a 1977 hit film, Agent Vinod. Further inspiration for the plot and situations comes from 1970s spy thrillers such as That Man In Istanbu
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Producers: Saif Ali Khan, Dinesh Vijan. |
Saif Ali Khan, playing a RAW agent, has lost his close colleague – Ravi Kissen while on a mission to Russia. His last message before he was murdered was just the figures ‘242‘. That sets Saif Ali Khan on a mission to find out what these figures mean as he liquidates anybody and everybody that comes in his path. His search begins in Russia and takes him from place to place; while in Morocco, he meets Kareena Kapoor, a Pakistani, posing as a personal doctor to local Mafioso, Prem Chopra, but who is actually an MI6 agent now working for ISI. Kareena Kapoor has a sad past and dreams of a future with a nameplate describing her as a doctor, children and a husband who loves her more than anything (that is the emotional quotient in the film). Saif Ali Khan‘s trust button for her keeps blinking most of the time; that is till she convinces him that she is on his side and equally anxious to stop any destruction that the villains may have planned. As he goes from Russia to Morocco to Latvia to Karachi, he always outthinks his detractors and draws his gun faster than they do. He reaches Delhi at the same time as a nuclear bomb stolen by an ex-KGB man from the Russian depot is headed there via Somalia in a fishing trawler. The villains‘ grand plan blessed by Gulshan Grover, who is a refugee don under protection of Pakistani authorities (read Dawood), is to blow up Delhi with this nuclear bomb and blame it on some Islamic group. This is when the film provides finally some thrill and excitement. The culprit is killed, bomb traced and defused and Saif Ali Khan heads to South Africa to eliminate one more of a group who actually are behind such terror plots – a promise of a sequel.
Agent Vinod traverses from place to place as Saif Ali Khan follows clues. But because of this it comes across as a totally disjointed film. Nothing makes sense as men are tossed, kicked and shot. You don‘t care after a while since you are not taken into confidence as to who is who and why people are killing each other; no villain is constant or established. One makes an appearance and is killed soon enough. The Indian audience loves dhishum-dhishum and gun shots, not silencer-fitted guns. There is no flow of story, no explanations.
There are no smart one-liners the heroes in such films are expected to mouth; the few that are there are wry and too subtle to be enjoyed. There are no other distractions as the film has no comedy or emotions, songs lack appeal and romance, whatever little there is, is silent.
Yes, the film is beautifully shot and is apt technically, but that is not what attracts the audience as much an interesting story and entertainment. The film makes no demands on actors‘ histrionics as there is no drama; Saif Ali Khan has to survive this film on his charm which, alas, is missing. Kareena Kapoor is a hanger-on, playing an aide to Saif Ali Khan and looking forlorn. All the action and excitement going around never seem to touch her. The rest of the cast-Prem Chopra, Gulshan Grover, Ram Kapoor, Ravi Kissen, Shahbaz Khan-is packed off before you notice them.
Agent Vinod has had an average opening and its prospects from single screen are not bright while prospects at multiplexes are limited and hence far short of being cost effective.
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.
