Hindi
Inox ups stake in Fame to 68.3%
MUMBAI: Multiplex chain operator Inox Leisure has raised its stake to 68.30 per cent in Fame India, up from 50.20 per cent that it had held in January 2011, for Rs 889.3 million.
The purchase of 20.2 million shares, or 18.14 per cent, at a premium of Rs 34 per equity share was through a rights issue.
Talking about increasing his company‘s stake in Fame, Inox Leisure Ltd CEO Deepak Asher said: “We had subscribed to a rights issue of the company. Resultantly, we could increase our stake in the company.”
The issue opened on 7 February and closed on 21 February 21 2012.
Inox‘s shares closed at Rs 55.15 apiece, up 9.64 per cent from the previous close on the BSE.
Fame India‘s shares closed at Rs 70.45, up 1.59 per cent from the previous close on the BSE.
Since the last two years, Inox has been increasing its stake in Fame. Having bought 43 per cent stake in February 2010, Inox raised its stake in phases.
Inox Leisure is one of the fastest growing multiplex chains in the country, building and managing multiplex cinemas throughout India.
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.
