Hindi
John Abraham to attend the 11th Alumni Meet of Jai Hind College
MUMBAI: We all love memories! And if one gets a chance to revisit them, nothing could be more wonderful that that. Seems John Abraham is trying to just relive his college memories once again. The actor and producer would be a part of Jai Hind College’s 11th alumni meet as the chief guest.
The event will be held at Nehru Centre Auditorium, Worli in Mumbai on February 1, 2014.
John said in a release, “It is an honour for me to be present as chief guest at the alumni meet of my own college. It means a lot to me. Like every teenager I have lived my best and the toughest time in this college and there are a lot of memories associated with it. This reunion is such a great effort which gives us a chance to relive those memories.”
The college boasts of having distinguished alumni including names like Priyanka Chopra, Aishwarya Rai Bachchan, Isha Kopikar, Kajal Aggarwal, Malaika Arora Khan, Ramesh Sippy, Sunil Dutt, Neeta Lulla, Atul Kasbekar, Hiten Tejwani, Natasha Suri and Ajay Piramal associated with it.
Every year, Jai Hind Alumni Association organises this get-together where the illustrious ex-students are acknowledged for their outstanding performances and for being the torch – bearers of Jai Hind College.
“This is just an effort to build a strong association of the alumni who are now in different parts of the world and are proud to be Jai Hind- ites. This meet takes all of us down memory lane and everyone looks forward for this,” said Jai Hind College Alumni Association Secretary NW Shivdasani.
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.
