Hindi
D-Day and Ramaiya Vastavaiya open well, as Bhaag Milkha Bhaag sustains
MUMBAI: D-Day starring Rishi Kapoor, Arjun Rampal and Irrfan Khan has won much acclaim yet the opening day collections remained on the lower side with little improvement on Saturday and noteworthy improvement on Sunday. The opening weekend showed collections of Rs 10.2 crore.
Ramaiya Vastavaiya which marks the debut of Tips‘ Ramesh Taurani‘s son Girish Taurani along with Shruti Haasan created much hype on its opening day but hasn‘t consolidated much after the opening weekend performance. The film went on to collect Rs 12.30 crore for its first weekend.
Bhaag Milkha Bhaag has sustained well through its first week after taking a decent opening weekend. The bulk of the business coming from multiplexes from major cities, the film ended its first week with a total of Rs 52.5 crore. The film was recently granted tax exemption in the state of Maharashtra and is trying for further exemption in other states as well.
Sixteen has done poorly. The film has managed to collect about Rs 1.2 crore in its first week.
The Ranveer Singh and Sonakshi Sinha love story Lootera has managed to collect Rs 3.35 crore in its second week taking its two week total to Rs 25.75 crore.
Policegiri starring Sanjay Dutt has collected Rs 3.1 crore in its second week to take its two week tally to Rs 16.30 crore.
Raanjhanaa has added Rs 1.9 crore for its fourth week to take its four week total to Rs 58.45 crore.
Excel Productions‘ youth flick Fukrey has added Rs 30 lakh for its seventh week thus taking its seven week total to Rs 34.5 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.
