Hindi
‘Kick’ continues successful run at BO
MUMBAI: Entertainment, which opened to rather tepid response, continued to remain so; the film’s mouth publicity reports were not very complementary either. There was little raise over the Friday collections on Saturday.
However, the film has been able to manage a not so encouraging Rs 30.9 crore. The film showed little improvement on Saturday but did better on Sunday improving by about 25 per cent over its Friday figures. Next weekend offers four holidays with Independence Day on Friday and Gokul Ashtami on Monday but that benefit won’t be available so much to this film as theatre chains are blocked for the release of Singham Returns.
Lateef The King Of Crime is a disaster.
Kick has maintained excellent collections in its second week cashing in on open run and the aftermath of Eid. The film crossed the Rs 200 crore mark on its eleventh day and ended the second week with Rs 49.1 crore thus taking its two week total to Rs 213.05 crore.
Hate Story 2 comes to the end of its run with adding Rs 20 lakh in its third week and taking its three week total to Rs 35.8 crore.
Humpty Sharma Ki Dulhania has collected Rs 1.20 crore in its fourth week taking its four week total to a healthy Rs 76.4 crore.
Ek Villain has added 10 lakh in its sixth week to take its six week total to Rs 102.97 crore.
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.
