Hindi
Box Office: ‘Badlapur’ delights critics
MUMBAI: Badlapur: Don’t Miss The Beginning gets much acclaim from critics. A noir film with black shades, there is little relief for seekers of entertainment. The fact that greatly cuts down on the expected footfalls at the cinemas. While the ‘A’ certificate keeps a lot of youth away, the genre does so to the ladies and family audience. It had an indifferent opening day of little over Rs 7 crore with Saturday doing only slightly better. On the other hand, collections remained stagnant on Sunday. The film managed opening weekend collections of Rs 23.6 crore.
Qissa (Punjabi) was not expected to do much at the box office but has certainly earned rave reviews.
Roy was a film beyond comprehension for a lot many people. A pretentious film, it gets some fair opening figures thanks to Ranbir Kapoor and Arjun Rampal in top billing. However, poor word of mouth keeps its first week limited to Rs 33.4 crore.
MSG: The Messenger figures don’t matter since the tickets were booked en masse by the makers and whatever figures are released to the media are also by the same source (crossed Rs 100 crore according to them!)
Shamitabh adds Rs 2.9 crore in its second week to take its two week tally to Rs 20.5 crore.
Baby has collected Rs 2.8 crore for its fourth weeks to take its four week total to Rs 78.1 crore.
Khamoshiyan has collected Rs 12 lakh in its third week to take its three week tally to Rs 6.62 crore.
PK has added Rs 10 lakh in its ninth week to take its ten week total marginally up at Rs 330.05 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.
