Hindi
‘Dolly Ki Doli’ a hit in Pakistan; earns 50 lakh on Day 1
NEW DELHI: The film Dolly Ki Dolly starring Sonam Kapoor with Pulkit Samrt, Rajkumar Rao and Varun Sharma has become a major hit in Pakistan earning Rs 50 lakh in its opening day on the big screen.
Produced by Kinesis Films and Arbaaz Khan Productions, the film also did good business in the United Arab Emirates.
The hilarious comedy was screened at 35 cinemas on 65 plus screens (68-70 screens approximately in total including e-print and DCP) in cinemas nationwide.
The success of the film in Pakistan could be due to the wholesome family entertainment quotient and the song “Mere Naina Kafir Ho Gaye” by Rahat Fateh Ali Khan- a hightlight in the film.
Malaika Arora Khan’s item number and Saif Ali Khan’s guest appearance all add to the Bollywood masala the film has to offer.
Kinesis Films director Samir Gupta said, “The film has performed very well in Pakistan in week 2 despite the other releases and is continuing in 30 cinemas even in week 3. While Khoobsurat had the advantage of the popular Pakistani actor Fawad Khan, this has been a super effort by Sonam and the rest of the cast to bring in family audiences and keep them entertained.”
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.
