Hindi
Box Office: ‘Jazbaa’ collects Rs 14.4 crore in opening weekend
MUMBAI: Jazbaa, based on the Korean film, Seven Days, is a story that could have been told in a undeviating manner. However, between adhering to the original and Indianising it is ‘lost in translation.’ The film, which is being touted as Aishwarya Rai Bachchan’s comeback film, opened to a meek response at the box office on Friday. However, it improved a great deal on Saturday in comparison to its opening day figures but remained static on Sunday. Jazbaa ended its opening weekend with Rs 14.4 crore, though its real standing will be determined only over next four days after the weekend.
While the film had the advantage of being the one and only release for the week, it had little competition from last week’s two releases,Singh Is Bliing and Talvar. While the first one started losing steam from its first Monday onwards, Talvar has a moderate following and continues to do well within its parameters it posed no threat to Jazbaa after its seven day run.
Talvar, another version of the Noida murder of a 14 year old girl, Arushi Talwar, allegedly by her own parents, generated some amount of curiosity and attracted a decent amount of footfalls. Considering its limited range, the film did fairly well to close its first week with a reasonable Rs 15.5 crore. The powerful media group, one of the makers of this film, is making sure it remains in the news or, to put it fairly, in controversy, so that the film adds a crore or two everyday even in its week two! The film maintained well during its second weekend.
Singh Is Bliing started off well but lost momentum from day two and even further from the first Monday after its release. This action comedy saw the female lead star, Amy Jackson, performing better action than the hero and action star Akshay Kumar, whose action scenes were lame and oft seen before. Akshay’s films have a limit till how much they can score at the box office and this one will stop short of even that limit. The film added Rs 19.75 crore in its four days after a decent weekend to show a figure of Rs 62.15 crore for its first week.
Kapil Sharma’s debut movie vehicle Kis Kisko Payar Karoon maintained well in its second week by collecting Rs 5.1 crore to take its two week total to Rs 43.2 crore.
On the other hand, Madhur Bhandarkar’s Calendar Girls crashes to a meagre Rs 10 lakh collections in its second week to show a tally of Rs 5.2 crore. A major loser.
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.
