Hindi
‘Dishoom’ collects Rs 11 crore on first day ; ‘Sultan’ inches to Rs 300 crore
MUMBAI: Dishoom, despite mixed reactions, opens to decent houses to show a healthy first day collections of about Rs. 11 crore. The film sustains almost to the first day performance showing little growth on Saturday but peaks on Sunday crossing Rs. 14 crore.
The film caters more to youth with its fun and action based theme. Varun Dhawan plays to the gallery to earn the film the category a general entertainer. The film ends its opening weekend with Rs. 37.4 crore.
The other two releases, Murder Madhuri and Love Ke Funday prove to be damp squibs.
Madari, promising much as it did with Irrfan Khan and Jimmy Shergill, had a fair amount of critical appreciation and audience applause but not enough to spell a healthy box office returns. After its opening weekend of Rs.8.4 crore, the film could add just about 50 per cent more during rest of the four days of the week to take its first week total to Rs 12.7 crore.
M Cream, a misconceived theme of a contemporary young bunch of boys and girls pretending to live in 1960s is very poor failing to collect just about five lakh in its first week.
Indrakumar’s third instalment of his Masti series adult comedy fails to cash it on its brand equity and does badly. The film, after a weak first week of Rs. 12.5crore, adds just Rs. 45 lakh in its second week taking its two week tally to Rs. 12.95 crore.
Sultan rides on strong Salman Khan shoulders to hold its own in its third week to add Rs. 15.75 crore thus taking its three week total to Rs. 293.71 crore (total 23 days) as it now trudges through to make to the Rs. 300 crore mark which should be attainable by the end of this week or early next weekend.
Kabali (Hindi dubbed from Tamil) has not matched the media hype it created when it comes to its box office performance with its Hindi dubbed version. Despite an extensive exposure at over 1000 screens, the film has managed to collect Rs.20.8 crore in its first week.
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.
