Hindi
Karisma Kapoor’s comeback film ‘Dangerous Ishhq 3D’ releasing on 11 May
NEW DELHI: ‘Dangerous Ishhq‘, the comeback film of ‘Biwi no. 1‘ Karisma Kapoor, is to be released globally on 11 May in both 2D and 3D.
Director Vikram Bhatt told indiantelevision.com that a total of 700 prints will be released in 2D and around 330 in 3D.
The mystery thriller which is based on past life regression has been produced by Reliance Entertainment, DAR Motion Pictures (A Division of DAR Media) and BVG Films (A Division of ASA).
It is the second film in India to be shot in stereoscopic 3D using state of the art technology and a leading international technical crew after the success of Haunted- 3D in 2011 which was also directed by Vikram Bhatt.
Others in the cast are Jimmy Shergill, Rajneesh Duggal, Divya Dutta, Sameer Kochar, Gracy Singh, and Ruslaan Mumtaz.
Addressing a press meet here earlier, Bhatt said he also been influenced by the book Many Lives, Many Masters by Dr Brian Weiss.
He said the film was drawn from the experiences of his own life. “I had a tryst with emptiness that took me on to the path of spirituality and the search for answers. I studied psychic meditation and then slowly the art of regression into past lives. I know that all this sounds like a lot of nonsense to the people who won‘t believe but to someone like me who has been through the fire of that experience there is no turning back.”
Asked about the casting of Karishma, he said he had approached her a long time earlier – before his film ‘Haunted‘ – but she had consented just last year.
Karishma said the story had fascinated her and it had been a challenge to play many roles and speak five different dialects in one film.
She indicated that this was not a one-film foray on her return to Bollywood and she was considering other offers.
Duggal who had also appeared in a main role in ‘1920‘ by Vikram Bhatt said he had felt nervous initially about acting with Karishma, but she put him at ease.
Dangerous Ishhq 3D is the story of Sanjana (Karisma Kapoor) – a super model – and Aditya (Rajneesh Duggall), the son of a big industrialist, who vanishes under mysterious conditions. The film is Sanjana‘s tryst with destiny – her journey into the past to save her future.
The film has music by Himesh Reshammiya, lyrics by Sameer and Shabbir Ahmed, written by Amin Hajee and dialogues by Girish Dhamija. The director of photography Pravin Bhatt captures over 500 years of Indian history in 3D and Abbas Ali Moughal heralds the action.
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.
