Hindi
Judwaa 2 hopes to entertain
*Judwaa 2 came after a long gap that was filled by mediocre and non-entertaining films. There were no films in the last few months which could draw out the families from home to watch a film.
Two weeks before Diwali was not the right time to release a film but, to counter that, there was also a long holiday weekend with Dussehra on Saturday and Gandhi Jayanti holiday on Monday.
The film rode on the brand equity of the 1997 original, Judwaa, starring Salman Khan in dual role. Salman even helped promote Judwaa 2 through its promos. The film took a decent opening last Friday with Rs 155 million as Saturday improved by bounds as expected, and so did Sunday as the film put together Rs 579 million for its opening weekend.
Gandhi Jayanti holiday may have have proved to be a major boost to the film’s collections.
*Sanjay Dutt’s comeback film, Bhoomi, has flopped. The film could add little to its opening weekend, and had just made about Rs 95 million for its first week.
*Haseena Parkar proved to be another disaster. One wonders at the choice of such subjects to make films! Films and Rani Laxmi don’t work but someone somewhere thought a film on Haseena Parker will work? The film managed to collect Rs 63 million in its first week.
*Newton proved to be surprise packet as its choice as the Indian entry for the Foreign Language Oscar coincided with its Friday release. Two other films to release on the same Friday, Bhoomi and Haseena Parker, being way below par, Newton got a boost as the people’s first choice. The film, which was poor on day one, picked up to end its first week with collections of Rs 112 million.
*Lucknow Central managed to add just about Rs 75 lakh in its week two to take its two week total to Rs 110 million.
*Simran added Rs 13 million in its week two to take its two week total to Rs 158 million.
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.
