Hindi
Bullet Raja misses the mark at the BO
MUMBAI: Bullett Raja based on an outdated premise which a few decades back would have been classified as B-grade stunt movie, has not gone down well with the audience. While the film fared better with the single screen moviegoers, it was not accepted at the multiplexes. The film has collected Rs 19.7 crore for its opening weekend.
Last week’s release, Singh Saab The Great has been below par; its mostly Punjabi lingo and flavour limited its appeal to a region. The film has collected Rs 20.8 crore in its first week with little to hope for in second week.
Gori Tere Pyar Mein too has proved to be a disaster that it was predicted to be. An outdated story told in a patchy style, the film falls flat with poor response from day one. It was not a film worth making. The collections endorse the view. The film has collected a meagre Rs 12.65 crore in its first week.
And though, it didn’t see a great opening, Goliyon Ki Rasleela: Ram Leela has had a decent second week, especially in Bombay Circuit. The film has collected Rs 22.1 crore in its second week with half of it coming from Bombay Circuit.
Krrish 3 comes to the end of its run with the film collecting just Rs 2.5 crore in its fourth week. The film’s four week tally is Rs 174.3 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.
