Hindi
Box Office: ‘Drishyam’ collects Rs 27.6 crore; ‘Bajrangi Bhaijaan’ going strong
MUMBAI: Much touted, successful in its Malayalam, Telugu and Tamil versions, Drishyam carried some expectations in the trade but, with only Ajay Devgn in the top billing, the film could not draw the expected audience. Despite praise from the critics, word of mouth failed to do much for the film.
Drishyam opened at little over Rs 5 crore on Friday and, as expected, did show some improvement on Saturday and got better on Sunday. However, despite its economical making and saving on casting, the weekend figures had Rs 27.6 crore to show including paid previews on Thursday. This being not up to the mark, much will depend on how the film holds through the rest of the week.
Masaan, critically acclaimed film as well as a Cannes awardee, could not do much at the box office. Awards of any kind don’t really matter to the Indian audience. The film collected a measly Rs 2.4 crore in its first week.
On the other hand, Salman Khan’s Bajrangi Bhaijaan maintained a strong trend even in its second week. The film has become a rage all over and Khan’s docile character without action has found much appreciation. What’s more, the film’s climax has been winning the audiences’ hearts. The film added a fantastic Rs 87.2 crore in its second week to take its two week tally to Rs 272.05 crore.
Baahubali: The Beginning (Hindi-Dubbed) continues its strong run notwithstanding strong opposition from Bajrangi Bhaijaan. The film is already the highest grossing Hindi dubbed film ever and looking at the trend it will most likely also be the first dubbed film to make it to Rs 100 crore club. The film has collected Rs 21.7 crore in its third week, which is barely Rs 3 crore less than its second week. This takes the film’s three week total to Rs 87.95 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.
