Hindi
Court directs attachment of Raghubir Yadav’s propertiest
NEW DELHI: A City Court today directed the DCP East to start attachment proceedings of the properties of actor Raghubir Yadav who has allegedly failed to pay the interim monthly maintenance of Rs 40,000 to his estranged wife.
Metropolitan Magistrate Vandana Jain directed the Police that a warrant of attachment of properties of Yadav should be issued and the default proceedings must be carried out seriously.
The Court gave directions for default proceedings after Yadav failed to comply with the Court orders to pay the maintenance to his estranged wife Poornima Yadav, He was earlier directed by the Delhi Court to pay Rs 20,000 as maintenance to his wife but he had refused to do that as well. Yadav was arrested on charges of non payment of arrears also but had managed to come out of jail after three days by paying a partial amount of the total dues of Rs 1.4 million to 1.5 million dues.
Yadav had alleged that Poornima works as a dance teacher with the National School of Drama (NSD) and earned around Rs 1.2 million per annum. The Court had however rejected Yadav‘s contention saying that it cannot be overlooked that their son was in the custody of Poornima from the time they had separated and that she had been meeting the expenses of his education and maintenance.
Assessing the income of Yadav, Metropolitan Magistrate Sunaina Sharma had held that Yadav is a renowned actor of art movies, TV serials and theatre and is doing well in commercial cinema. After his success in his two latest hits ‘Peepli Live‘ and ‘Gandhi to Hitler‘, his monthly income would have gone up, the court had said, and enhanced the monthly maintenance for Poornima. The court had also ruled that the actor will have to pay the maintenance from the date of its present order till the disposal of the case.
It also asked him to pay her Rs 20,000 from the date of filing of the petition in 2006 till the present order, besides another sum of Rs 20,000 per month for maintenance of his son, now a minor, from the date of filing of the petition till becomes a major.
Poornima in her plea had told the court that she had married Yadav in Jabalpur in June 1988 but he deserted her in 1995. She said she had been living with their son in Delhi, so the Supreme Court had allowed that her case be tried in Delhi.
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.
