Hindi
Madras Caf fails to rake in the moolah, collects Rs 18 crore
Madras Cafe, starring John Abraham directed by Shoojit Sircar of Vicky Donor fame, opened low on Friday but managed to do better on Saturday and Sunday, especially at select multiplexes in Metro cities. However, public response failed to match that of the critics thus the slide is inevitable on days to follow. The film has collected Rs 18 crore for the opening weekend.
Once Upon A Time In Mumbai Dobaara, a story about underworld rivalry borne out of love for same girl, fails on all counts from casting to scripting. The film, which opened on 15 August holiday and took Rs 34.6 crore for the four day weekend, could add only little over Rs 14 crore for the other four days to close its first week with Rs 48.8 crore, the best figures coming from Bombay Circuit. The film is a sequel to Once Upon A Time In Mumbaai (2010) but has failed to cash in on the success of the first installment.
Chennai Express starring Shah Rukh Khan and Deepika Padukone sustains well with the advantage of a weak opposition in its second week. The film collects Rs 36.7 crore in its second week to take its two week tally to Rs 178.7 crore.
B.A. Pass collects Rs 45 lakh in its third week and takes its three week total to Rs 7.05 crore.
Ramaiya Vastavaiya adds Rs 10 lakh for the fifth week to take its five week total to Rs 26.07 crore.
Bhaag Milkha Bhaag has added Rs 1.1 crore in its sixth week taking its six week tally to Rs 106.35 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.
