Hindi
Box Office: Baaghi and The Jungle Book – great run
Sarbjit, with its choice of subject and casting, was not expected to carry much appeal and it did not. With its lacklustre treatment, length and lack of soul, it failed to touch the audience. The film had a poor opening day with a marginal increase on Saturday and Sunday. It ended its opening weekend with collections of Rs 12.1 crore. The film has dropped further from today.
Azhar, a biopic on Indian cricketer Azharuddin, which claims to be based on the cricketer’s life, took the help of a disclaimer at the very start of the movie to twist and turn the events that happened during this cricketer’s tenure as a player as well as captain of the Indian team, to make a victim out of him. Not expected to strike a chord with the audience, it failed badly. The film managed to put together just Rs 28.95 crore for its first week.
Dear Dad had a poor run in its first week.
Buddha In Traffic Jam made a symbolic presence at the box office by collecting about Rs 30 lakh for its first week.
1920 London has collected Rs 2.1 crore in its second week to take its two week tally to Rs 4.2 crore.
Traffic added Rs 30 lakh in its second week taking its two week tally to 3.5 crore.
Baaghi has had a great run at the box office as it collected Rs 3.1 crore in its third week taking its three eek total to Rs 77.6 crore.
The Jungle Book has had an excellent run at the box office even during its sixth week as the film went on to collect Rs 4.3 crore to take its six week total to Rs 179.45 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.
