Hindi
Box office: ‘Bajrangi Bhaijaan’ crosses Rs 100 crore in opening weekend
MUMBAI: A Salman Khan film and the festival of Eid make a sort of grand combination at the box office. And Bajrangi Bhaijaan, the latest Khan starrer, continues the tradition.
However, what is different this time is that this is no usual superhuman action film, which are dished out by Khan’s filmmakers for some years now.
The film has just two brief action scenes, tackles a risky subject releasing it at a time when the film could have easily disappointed his fans who usually love to watch him go berserk with his muscles and fists.
Bajrangi Bhaijaan counts on emotional appeal, balances two faiths tactfully and emotions of two countries, India and Pakistan.
The film, despite its release a day before Eid, matched the collections of other Khan hits to record opening day figures of Rs 27.2 crore and, as expected, took a big leap on Saturday (Eid day) and Sunday Rs 38.5 to end its opening weekend with a whopping Rs 102.2 crore.
Baahubali: The Beginning (Hindi-Dubbed) maintained very well through its first weekend. After an opening weekend of Rs 20.15 crore, it more than matched up to its weekend figures with first week collections of Rs 41.55 crore. The film had fewer screens in its second week due to the extensive release of Bajrangi Bhaijaan.
I Love NY opened to poor collections and stayed that way through its first week run.
Guddu Rangeela added a meagre Rs 65 lakh in second week to take its two week total to Rs 8.4 crore.
Second Hand Husband collected Rs 35 lakh in its second week to take its two week total to Rs 2.95 crore.
ABCD 2 added another Rs 1.70 crore in its fourth week to take its four week total to Rs 104.95 crore.
Tanu Weds Manu Returns is still holding fort at the box office. The movie collected Rs 40 lakh in its eighth week taking its eight week total to Rs 142.95 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.
