Hindi
Golden Kela nominates the most popular for the worst performance
MUMBAI: They are the heartthrobs of Bollywood and their movies were the highest grosser of 2013. But still, they couldn’t impress their critics much. We are talking about Shah Rukh Khan and Aamir Khan, whose movies Chennai Express and Dhoom 3 earned in crores at the Box Office but have been nominated in the sixth edition of the Golden Kela Awards – the Indian version of the Raspberry Awards – that celebrates the worst of Bollywood.
Interestingly, these two are not the only ones facing flak; many top notch actors of the industry are in the list. So while there’s Deepika Padukone for Chennai Express, Sonam Kapoor has been nominated for Raanjhana, and Sonakshi Sinha for R…Rajkumar.
Golden Kela Awards founder Jatin Varma thinks that the movies that released this year gave the jury ample choice for the nominations. “It might be tough for the voters to decide which one was the absolute worst! This time the nominations were especially difficult, because Bollywood spewed out an incredible amount of crappy films and the Indian audience spent a large amount of money on them,” he remarked.
To add spice to the show, a few new categories have been introduced that include special awards like Aakhir Kyun Award, Dara Singh Award for Worst Accent, Bas Kijiye Bahut Ho Gaya, Aap Yahaan Aaye Kisliye Award and Ra.One Award for Worst Premise. These awards will only be announced at the official awards ceremony that will take place on 29 March, 2014 at India Habitat Centre, New Delhi.
The voting lines are opening on 1 February and one just needs to log on to www.goldenkela.com to check out the categories, nominees, updates and cast a vote.
Here’s a full list of the nominations…
Worst Actor (Male)
Ajay Devgn for Himmatwala
Ram Charan Teja for Zanjeer
Imran Khan for Once Upon Ay Time In Mumbaai Dobara
Aditya Roy Kapoor for Aashiqui 2
Ranveer Singh for Goliyon Ki Raasleela Ram-leela
Arjun Kapoor for Aurangzeb
Worst Actor (Female)
Shraddha Kapoor for Aashiqui 2
Priyanka Chopra for Zanjeer
Pallavi Sharda for Besharam
Sonam Kapoor for Raanjhanaa
Sonakshi Sinha for R…Rajkumar
Deepika Padukone for Chennai Express
Worst Supporting Actor (Male)
Aditya Roy Kapoor for Yeh Jawaani Hai Deewani
Imran Khan for Matru Ki Bijli Ka Mandola
The Whole Male Cast of ABCD
Sachin Joshi for whatever he did
Sanjay Dutt for Zanjeer
Worst Supporting Actor (Female)
Deepika, Jacqueline, Ameesha for Race 2
Anushka Sharma for Matru Ki Bijli Ka Mandola
The Whole Female Cast of ABCD
Kangna Ranaut for Krrish 3
Vaani Kapoor for Shuddh Desi Romance
Worst Director
Sajid Khan for Himmatwala
Rohit Shetty for Chennai Express
Rakesh Roshan for Krrish 3
Anand L Rai for Raanjhanaa
Sanjay Leela Bhansali for Ram-leela
Prabhudeva for R…Rajkumar
Apoorva Lakhia for Zanjeer
Worst Film
Himmatwaala
Raanjhanaa
Besharam
Krrish 3
Aashiqui 2
Chennai Express
Ramleela
Dhoom 3
Baawra Ho Gaya Hai Ke
Vishal Bhardwaj for Matru Ki Bijli Ka Mandola
Tigmanshu Dhulia for Bullet Raja
Ali Zafar for Chashme Baddoor
Aamir Khan for Dhoom 3
Ranbir Kapoor & Abhinav Kashyap for Besharam
Aditi Rao Hydari for Murder 3 & Boss
Sudhir Mishra for Inkaar
Irritating Song
Lungi Dance
Tum Hi Ho
Lat Lag Gayi
Party All Night
Raghupati Raghav
Gandi Baat
Atrocious Lyrics
Raghupati Raghav
Saree Ke Fall Sa
Tamanche Pe Disco
Grand Masti
Boss
One Two Three Four
Ishqyaun Dhishqyaun
Babli Badmaash
Chingum Chabaake
Worst Sequel/Remake
Zanjeer
Chashme Baddoor
Aashiqui 2
Murder 3
Dhoom 3
Shootout At Wadala
Himmatwala
Race 2
Yamla Pagla Deewana 2
Krrish 3
Once Upon Ay Time in Mumbai Dobaara
Grand Masti
Why Are You Still Trying
Preity Zinta for Ishqk In Paris
Sunny Deol for Singh Saab The Great
Prateik Babbar for Issaq
Jkackky Bhagnani for Rangrezz
Vivek Oberoi for Jayantabhai Ki Love Story
Neil Nitin Mukesh for 3G & Shortcut Romeo
Shahid Kapoor for R…Rajkumar
Worst Debut
Girish Kumar
Poonam Pandey
Ram Charan Teja
Sasha Agha
Veena Malik
Leander Paes
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.
