Hindi
BO: ’Dil Dhadakne Do’ more hype than hit, ‘Tanu Weds Manu Returns’ tots Rs 117.95 crore
MUMBAI: Dil Dhadakne Do, one of the most hyped movies in recent times, does not quite live up to the hype and the resultant expectations. The film, its script and the execution took the audience for granted, spinning the story of convenience ending with a grossly unsatisfactory climax.
The film’s performance at the elite multiplex properties in metros gave it some face-saving figures with audience at the lower rung ’plexes and single screens keeping away. The film had a below average first day with day two improving marginally, while Sunday figures showed some promise. Dil Dhadakne Do ended its opening weekend with Rs 32.5 crore. The film will have to show a steady trend during rest of the week, which does not look likely from early Monday footfalls.
A number of insignificant films, most of them made purely out of whims and fancies viz An Unfold Fact- Lateef, Ishquedarriyaan, Chaar Cutting and P Se PM Tak, find no takers managing to collect a couple of lakh each.
Welcome To Karachi managed to add only Rs 1.7 crore in four days after its opening weekend plus Thursday paid previews to finish its first week with Rs 7.25 crore.
Tanu Weds Manu Returns created new milestones as it crossed the celebrated Rs 100 crore mark within ten days of its release. It proves again: the eternal fact is that the Script is the King. The three films that worked this year, Dum Lagake Haisha, Piku and Tanu Weds Manu Returns prove the point. Tanu Weds Manu Returns collected Rs 48.1 crore in its second week to take its two week total to Rs 117.95 crore.
Piku held its own even in the fourth week as it went on to collect Rs 3.85 crore to take its four week tally to Rs 78.72 crore.
Bombay Velvet ended its disastrous run in the third week with total collections of Rs 21.75 crore, whereas Gabbar Is Back added Rs 50 lakh in its fourth week to take its four week total to Rs 79.75 crore.
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.
