Hindi
Mary Kom earns Rs 27.3 crore at BO
MUMBAI: Mary Kom opened with a weak response despite being a solo release for the week with much hype. Media critics did not quite favour the film as was expected and panned it liberally. The film has been granted tax exemption in Maharashtra and Uttar Pradesh so far and collected Rs 27.3 crore in the opening week. The film improved on Saturday and Sunday but has not been able to sustain as well on Monday as most of Western India will be busy with the last day of Ganesh Utsav while in Delhi schools, terminal exams start today.
Raja Natwarlal is poor at the end of its first week managing to collect barely Rs 21 crore. Emraan Hashmi pays the price for keeping on doing same kind of roles film after film not to mention this time the content as well as treatment were mediocre and taking your audience for granted never works. Music was poor too to add to the woes.
Trip To Bhangarh, Last Benchers and Identity Card have proved to be disasters.
Mardaani held on well in its second week to collect Rs 8.19 crore taking its two week tally to Rs 31. 16 crore. With its limited budget and YRF advantage of distribution network, the film will make it to earning status.
Singham Returns collects Rs 4.6 crore in its third week to take its three week tally to Rs 136.4 yet still short of target.
Entertainment has collected Rs 30 lakh in its fourth week to take its four week tally to Rs 63.4 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.
