Hindi
Dhoom 3 still going strong at BO
MUMBAI: Karle Pyar Karle, a launch pad for Shiv Darshan, which afforded an ambitious release with about 1000 screens, has not been able to make any impact. A youth oriented action romance; it has failed to draw its target audience. The film opened to less than 10 per cent occupancy and has only tapered down thereafter.
The other two releases – Miss Lovely and Parathe Wali Galli, failed to draw enough audience to conduct shows.
Yaariyan scored on the strength of its music the mixed reactions of the viewers notwithstanding. The film has sailed to safe grounds with the first week collection figures of 26.25 crore.
Dedh Ishqiya, as one gathers from the viewers’ response, fell short of expectations; most preferred the earlier version. Having opened to a lukewarm response, the film maintained on the lower side to end its first week with figures of 18.3 crore.
Sholay 3-D has added 2 crore in its second week thus taking its two week total to 10.3 crore.
Dhoom 3 squeezes the box office to its last potential collecting 4.75 crore in its fourth week taking its four week tally for the Hindi version to 272.49 crore; 285.24 crore including TnT versions.
The exhibition trade is again looking forward to the Republic Day weekend release, Jai Ho, the latest Salman Khan offering for at least two weeks of throbbing box office. This time, the Khans seem to have chosen a subject with a social message. The film is based on the Chiranjeevi starrer Telugu film, Stalin (2006).
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.
