Hindi
High Court tells makers to settle remaining dues before Zanjeer’s release
MUMBAI: Finally after the interference of the Mumbai High Court, the making of Zanjeer has got a green signal but this comes not without a rider: the makers have to pay the remaining dues within eight weeks.
Since its inception, the remake has been embroiled in a host of controversies. It has been the bone of contention between the Mehra brothers – Amit Mehra, Puneet Mehra and Sumeet Mehra.
Adai Mehra Productions Pvt Ltd (AMPL) owned by Amit Mehra, and Prakash Mehra Productions (PMP) which is a property of all the three brothers, have been stuck in a legal tussle for quite some time now.
It is said that AMPL acquired the rights of Zanjeer from PMP, but the latter claimed that the dues weren‘t settled. The total amount that was to be paid was Rs 4.10 crores. As per the Bombay High Court order, AMPL now needs to clear the remaining dues of Rs 1.18 crores within eight weeks for the film to be released.
The remake stars Ram Charan Teja and Priyanka Chopra in stellar roles.
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.
