Hindi
Box Office: ‘Bajrangi Bhaijaan’ zooms past Rs 200 crore
MUMBAI: While most films shy away from releasing immediately after a much expected blockbuster is released in theatres, the small but critically acclaimed film Masaan was bold enough to come in the week following the Salman Khan starrer Bajrangi Bhaijaan.
Masaan, despite being awarded at the Cannes Film Festival earlier this year, fails to make a mark at the box office as its very limited opening weekend footfalls show.
After a weekend of over Rs 100 crore, Bajrangi Bhaijaan continued to cash in on post Eid revelries. The almost universal positive word of mouth also helped the film continue its record-breaking spree throughout its first week outperforming all top grossers of recent times. The film ended its first week with Rs 184.85 crore and went on to cross the Rs 200 crore mark on day nine.
The film has an open week and will continue its march into the second week where it is expected to create more records, especially on Saturday and Sunday.
Baahubali: The Beginning (Hindi- Dubbed) maintains a strong trend in its second week despite strong opposition in Bajrangi Bhaijaan. At the same time, the film also benefitted from Eid celebrations as the Muslim audience throng the cinemas after a month of restraint due to Ramzan. The film collected Rs 24.7 crore in its second week to take its two-week total to Rs 66.25 crore.
Having crossed the Rs 100 crore mark, which matter much to such controlled budget films, ABCD 2 comes to the end of its run adding Rs 10 lakh in its fifth week taking its five week total to Rs 105.05 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.
