Hindi
Kangana shares her wedding jitters in Queens teaser
MUMBAI: Content plays a key role while promoting any film. Keeping that in mind, Viacom 18 Motion Pictures has presented an innovative teaser to promote their upcoming movie Queen, starring Kangana Ranaut.
The teaser stands out from a traditional one-minute glimpse into the entire film. Queen’s teaser has Kangana addressing the viewers, asking them for tips for her honeymoon, in an endearing, coy manner. Kangana plays the role of ‘Rani’ in the film, a shy bride-to-be who shares her wedding-jitters in the teaser.
Kangana’s character has developed an instant connect with the audience, with the teaser going viral and viewers loving the personal approach adopted by Viacom18 Motion Pictures, to present the teaser. There’s a strong word-of-mouth doing the rounds as viewers have been sharing the teaser link on all social platforms including Twitter, Facebook and Whatsapp.
A strong character, a flawless actor and a powerful script well presented with simplicity has resulted into a clutter breaking Bollywood teaser. Says Viacom18 Motion Pictures head of marketing Rudrarup Datta in a release: “Our objective is to make the audience love Rani for what she is. A simple innocent girl, who will win your heart with her honesty. The teaser is the first step towards that, which not only gets your attention but also compels you to engage. We are thrilled with the response to the teaser which will now lead into the main theatrical trailer for the film.”
Going by the initial audience response, the idea certainly seems to work for the film. Queen, directed by Vikas Bahl and produced by Viacom18 Motion Pictures is scheduled for release on 28 February, 2014.
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.
