Hindi
Marathi version of No Entry in offing
MUMBAI: Bollywood hit No Entry will have a Marathi version. The remake of Boney Kapoor‘s film will go on floors tomorrow, celebrating Gudi Padwa, the Maharashtrian New Year.
Titled No Entry Pudhe Dhoka Aaahey!, the film will be produced by Premnath Rajagopalan and Nikhil Saini under the banner of Underground Films.
Elaborating on whether he sold the remake rights, Kapoor said: “I know the producers Rajagopalan and Saini for a long time. After they showed an inclination to make a Marathi remake of No Entry, I gave him the NOC to make the film.”
The producers have enlisted reputed Marathi actors like Bharat Jadhav, Ankush Choudhari, Kranti Redkar, Saie Tamhankar, Aniket Vishwasrao, Sai Lokur, Manava Naik and Paddy Kambli to play the lead roles essayed in the original by Anil Kapoor, Salman Khan, Lara Dutta Bipasha Basu, Fardeen Khan, Esha Deol, Celina Jaitley and others.
The principal shooting of the film is scheduled to begin in May 2012 in Goa and Mumbai under director Milind Arun Kavde.
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.
