Hindi
CBFC mass exodus: 13 members follow Samson; say action not related to ‘MSG’
NEW DELHI: Even as the government accepted Leela Samson’s resignation as chairperson of the Central Board of Film Certification (CBFC) following the controversy over the film ‘Messenger of God’ (MSG), made by and starring Dera Saccha Sauda head Gurmeet Ram Rahim Singh, 13 other members have put in their papers.
The film has already been cleared by the Film Certification Appellate Tribunal (FCAT).
In a letter, the members – M K Raina, Arundhati Nag, Ira Bhaskar, Lora Prabhu, Pankaj Sharma, Rajeev Masand, Anjum Rajabali, Nikhil Alva, Mamang Dai, Sekharbabu Kancherla, Shaji N Karun, Shubhra Gupta and TG Thyagarajan – have said that since the time that they first joined the Board, they had been seeking critical changes, which were imperative if the functioning of the CBFC has to be reformed.
The term of most of these members and Samson had ended in May, but they had been given extensions to continue. While some members said they had tendered their resignations around six months earlier, they were unanimous while talking to Indiantelevision.com that the resignations had no connection with the film ‘Messenger of God’.
The members’ letter said, “In spite of sending numerous recommendations and appeals, and having several meetings with the secretaries and senior officials of the ministry, and even one with an earlier Minister, not a single positive step has been taken by the Ministry.”
The CBFC members claimed that the “Advisory Panel continues to be filled up with people of questionable credentials appointed directly by the Ministry, without taking the Board’s recommendations into account.” No funds have been released for conducting orientation workshops for the panel members, they said, adding that officers from other departments, who have no understanding or experience in cinema are appointed as officials.
They also claimed that there are several positions in the regional offices that do not have regular appointments.
“There has been no board meeting for the last one year for us to discuss developments and make recommendations, as we were told that there are no funds to organize it. It seems that the CBFC Board is not required at all,” the letter said.
“It is our firm position that given the cavalier and dismissive manner in which the CBFC is treated by government, it is impossible to perform this duty with even a modicum of efficacy or autonomy. We also object to the way in which the Chairperson has been treated by the Ministry, which we feel has been humiliating for us all,” the letter said.
Asked about the clearance by FCAT, Samson said, “Yes, it is a mockery of CBFC. My resignation is final. I have informed the Information and Broadcasting Ministry secretary Bimal Julka.”
While she did not specifically refer to the reported clearance to the film, Samson alleged “interference, coercion and corruption of panel members and officers of the organisation who are appointed by the ministry.”
Refuting these allegations, the government had yesterday said that it has always maintained a distance from the entire process of film certification.
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.
