Hindi
Force is an average action fare
Force uses the tried and tested formula of good vs evil, honest cop vs the underworld.
A remake of the Tamil film Kaakha Kaakha (also made into Telugu and Kannada), it packs the regular South formula of slotting romance and songs through most of its first half and going for no holds barred action otherwise.
The action is brute, fast paced and gory at times. But then, that is its draw for it caters to the much deprived action film lovers.
John Abraham is an undercover officer with the Narcotics Cell, with a nothing to lose attitude. He has nobody to mourn him if he were to sacrifice his life in the line of duty. He is a lethal combination of muscle and mind and believes in instant justice advocating finishing a criminal with a Rs 200 bullet rather than spending crores to keep him in jail.
He is assigned to go after all the gangs that deal in narcotics in India and, with his team of three others, busts the four major gangs operating at four entry points of India. Soon he realises that the drugs are back in the market and he and his cell were only used to eliminate all the other drug barons so that a new gang led by two brothers, Mukesh Rishi and Vidyut Jamwal, could flourish as a monopoly.
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.
