Hindi
Dharmendra passes away at 89: Hindi cinema loses its ever-smiling He-Man
MUMBAI: Indian cinema today bid farewell to one of its most cherished icons as Dharmendra, the beloved “He-Man” of Hindi films and a star who defined an entire era of storytelling, passed away at 89. With his death, Hindi cinema loses not just a legendary actor but a symbol of unforced charm, gentleness and timeless stardom that spanned more than six decades.
Born Dharam Singh Deol in Punjab, Dharmendra rose from modest beginnings to become one of the biggest matinee idols of the 1960s and 70s. His journey was built not merely on his famously handsome screen presence, but on a disarming sincerity that made audiences believe every emotion he delivered — whether he played the romantic hero, the action star, the comic partner or the man of deep moral strength.
From Phool Aur Patthar and Anupama to the iconic Sholay, where his Veeru became one of the most enduring characters in the history of Indian cinema, Dharmendra’s work shaped generations of viewers. His pairing with Hema Malini created some of Hindi cinema’s most memorable moments, while his camaraderie with actors like Amitabh Bachchan redefined the commercial blockbuster.
But beyond the hits and the stardom, Dharmendra remained an industry favourite for one reason above all: his extraordinary warmth. Colleagues often spoke of his humility, his affection for unit hands, his ability to put newcomers at ease and his instinctive kindness that never dimmed despite his superstar status. He carried himself with an old-world grace that made him both larger than life and deeply relatable.
“Basanti, in kutton ke samne mat naachna”
became one of the most quoted dialogues in Hindi cinema history, capturing both Veeru’s protective passion and Dharmendra’s effortless screen command.
“Jo darr gaya, samjho marr gaya”
turned into a generational motto — a line still echoed in pop culture today.
In his later years, Dharmendra embraced the love of fans with the same open heart he brought to his roles, sharing memories, poetry and stories that offered glimpses into a life lived with passion and simplicity. His bond with his sons Sunny and Bobby Deol, and the pride he expressed in their journeys, became part of his public legacy.
As tributes pour in from across the country, the sense of loss is unmistakable. India has not just lost a film legend but a man who embodied the golden age of Hindi cinema — an era of sincerity, emotion and effortless heroism.
Dharmendra’s smile, his gentleness and his unmistakable screen magic will endure in the countless films he leaves behind. Today, as the curtains fall on a remarkable life, Hindi cinema bows its head to one of its brightest, kindest stars.
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.
