Hindi
Akshay’s ‘Boss’ to feature biggest club song
MUMBAI: Akshay Kumar along with Sonakshi Sinha is all set to take ‘Boss‘ to the next level. Titled Party All Night, the song is touted to be the biggest club song of the year and it is heard that the producers are sparing no efforts to make it the blockbuster chart buster.
This song will also have the added attraction of Yo Yo Honey Singh. News is also that it will be for the very first time that Akshay Kumar will be working with music director Sumit Dutt who has been a Salman Khan favorite and has been the man behind various blockbuster hits like Dhinkachika, Character Dheela, Desi Beat and many others to his credit.
While Sumit Dutt will direct the song, ace choreographer Raju Khan will be making Akshay and Sonakshi sway to the beats.
The shooting of the first part of the song is over and was shot in one of the suburban properties in Mumbai while the other half is scheduled to be shot in Bangkok next month. Buzz is that a mammoth crowd of over 600 dancers and junior artistes will be a part of it.
A source close to the team said, “In the film, the song comes at a very integral point, which is why Akshay wants to make it his biggest and best song to date. Akshay is wearing a leading international designer‘s costume.”
The song has been designed as the ultimate club number of 2013. It is the first full, all-out dance number that Akshay has done in years. This is his return to hard core dancing.
Produced by Viacom 18, Cape of Good Films and Ashwin Varde Productions, ‘Boss‘ is directed by Anthony D‘souza and is all set to hit the screens this October.
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.
