Hindi
Anand, Kapoor sons in a film
MUMBAI: Though Dev Anand and Shammi Kapoor were never seen together in a film, filmmaker Kadar Kashmiri has roped in their sons to feature in his ambitious film, Ali Peter John.
The film, produced under the banner of Ashwin Kumar Productions, will feature both Suneil Anand and Aditya Raj Kapoor in pivotal roles.
Averred Kashmiri, “A few days before his death, I had discussed the idea of Ali Peter John with Dev sahib. He liked the idea and asked who would act in it. So, I expressed my desire to cast Suneil. Dev sahab was excited about it. He, however, asked me to talk to Suneil directly.”
Kashmiri, who has also directed Shammi Kapoor in Karamdata made in 1986, added: “I have been closely associated with both Dev Anand and Shammi Kapoor. I have learnt a lot from them. I have seen their sons Suneil and Aditya grow up. It is an emotional moment for me to direct my friends‘ kids.”
It may be remembered that both Suneil and Aditya have made their screen debuts. While Suneil made his debut with his father’s venture Anand Aur Anand in 1984, Aditya directed three films — Shamaal, ambar Salsa and Don‘t Stop Dreaming — and acted in two films — Chase and Mumbai 118.
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.
