Hindi
Dhawan’s Chasme Baddoor rakes in Rs 193 mn in opening weekend
MUMBAI: David Dhavan‘s remake of Sai Paranpye‘s classic Chashme Baddoor by the same name did well in its opening weekend. Patronised by youth, the film has collected Rs 193 million in its first three days.
Sajid Khan‘s Himmatwala, a poor adaptation of the 1983 film of the same name, fared poorly. A shoddy affair, the film collected about Rs 367.5 million for its first week. The film is reported to have dipped further in its second week.
Bipasha Basu starrer horror Aatma collected Rs five million in its second week taking its two week total to Rs 88.5 million.
Court room drama and comedy Jolly LLB sustained well to add Rs 23.5 million in its third week to take its three week tally to Rs 302 million.
Mere Dad Ki Maruti collected Rs 12 million in its third week taking its three week total to Rs 113 million.
Abhishek Kapoor‘s Kai Po Che has added Rs four million for its sixth week which takes its six week total to Rs 490 million.
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.
